Peter Bradshaw

It’s a powerful tale of human frailty.

This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.

Quite simply, I just defy anyone with red blood in their veins not to respond to the crazy bravura of Tarantino’s film-making, not to be bounced around the auditorium at the moment-by-moment enjoyment that this movie delivers.

A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.

There’s a terrific charm and sweetness in this debut from Iraqi film-maker Hasan Hadi.

For many, the movie could as well do without the supernatural element, and I admit I’m one of them; I’d prefer to see a real story with real jeopardy work itself out. But there is energy and comic-book brashness

The story has a moderate charm, but is less baroque and ambitious than many Japanese animations.

[A] sombre, thorough, intelligent and informative documentary.

A piercingly emotional drama, acted with natural flair.

Boyega carries the film with a compelling authority of his own.

This, the film says, is what it really feels like to be on the receiving end of the law in a case like this: a calm, professional, technocratic but relentless display of overwhelming power.

This film has what its title implies: a heartbeat. It is full of cinematic life.

Sirāt is a path to nowhere, an improvised spectacle in the Sahara; it is very impressive in the opening 10 minutes but valueless as it proceeds, and a pointless mirage of unearned emotion.

The pleasure of the music is overpowering.

The film may not be perfect, but its courage – and relevance – are beyond doubt.

The ending of this film does not entirely measure up to the standard of tough realism set in the rest of the drama, but what a great performance from Riseborough.

Here is the bruised-plum role that put Jack Nicholson into the biggest of big leagues.

Jimmy Ellis’s story really is stranger than fiction.

An interesting and worthwhile drama.

John Schlesinger’s winsome adventure from 1965 still has verve and ambition, a romantic satire of swinging London.

Something in its mandarin blankness and balletic vastness, and refusal to trade in the emollient dramatic forms of human interest and human sympathy. Kubrick leaves usual considerations behind with his readiness to imagine a post-human future.

It may only be a repeat of earlier ideas and plotlines, but compare it to the fourth films in other franchises and Pixar’s latest is an amusing and charming gem.

The film is forthright and intelligent on the difficulties and complexities involved in the discussion.

The White Ribbon is a ghost story without a ghost, a whodunnit without a denouement, a historical parable without a lesson, and for two and a half hours, this unforgettably disturbing and mysterious film leads its viewers alongside an abyss of anxiety.

An ambitious, respectful account of the life and work of Yukio Mishima, the prolific Japanese author who made a romantic cult of Japan's lost world of martial glory and spartan warrior-manhood.

It’s impossible to object to In the Heights with its almost childlike innocence. Ramos is very good and it is great to see Stephanie Beatriz (from TV’s Brooklyn Nine-Nine) and Dascha Polanco (from Orange Is the New Black) round out the supporting cast. But this is a pretty quaint image of street life, whose unrealities probably worked better on stage.

They really were amazing personalities: almost like children, although they came to be depressed that their work was not inspiring governments to work on evacuation protocols.

The detailed sound design is inspired: the ghostly whine of a phone receiver left off the hook seems to intuit the couple’s inner anxiety – and so does the insistent two-tone blip-blip of Julian’s computer. [Director's Cut]