Peter Bradshaw

It’s a deeply sweet, happy, gentle film.

A very sombre picture of American crime and punishment.

It’s an intriguing filmic tribute to the rehabilitation programme: effective altruism in action.

This searing film bears a terrible witness to this great crime.

I am not entirely sure that Haroun entirely absorbs into the drama the shocking act of violence, with all its necessary consequences. But the sheer seriousness and urgency of the deceptively unhurried story give it power.

A complex, subtle, tender and heart-rending story of a young girl’s upbringing in a village menaced by the drug cartels and people traffickers.

This film does not offer any actual conclusions, but it is an atmospheric immersion in the old, smoky and very male world of American TV journalism.

Green Border is a tough watch: a punch to the solar plexus. But a vital bearing of cinematic witness to what is happening in Europe right now.

It’s a kind of Martian’s-eye-view documentary about something that doesn’t actually exist; it is ice-cold and detached, almost without dialogue in the conventionally dramatic sense, other than the subdued exchanges which we, as audience, overhear rather than listen to. It accumulates its own kind of desolate force.

Very few films can make you scared and excited at the same time. Just like the lighthouse beam, this is dazzling and dangerous.

Viet and Nam is a film that first feels opaque and elusive, and yet it becomes drenched with emotion.

It is a really powerful film and Brady’s final dialogue scene exerts a lethal grip.

This is a film with a hopeful message about people, and their ability and willingness to learn – and to get along.

It’s an uncompromising midnight movie.

The sheer laborious silliness of Avatar feels like harder work the second time around and its essential problem is more prominent. [2022 re-release]

Haugerud has something of Eric Rohmer, and perhaps a little more of Hong Sang-soo; a readiness to simply talk, and talk and talk some more. It’s surprisingly cinematic.

There is great sadness in this film – and great anger.

Gloria is a sad, painful romantic story.

This is a fine film, which cements Barnard's growing reputation as one of Britain's best film-makers.

What an intriguing and unexpectedly watchable film. Bait is an experiment – and a successful one.

It’s a complex drama, a realist film teetering on the edge of the uncanny, whose very title points the way towards the idea that there are shades of grey in every judgment we make.

There is a trio of excellent performances from Arabuli, Kankava and Dumanli: very good actors, very well directed, defining three personalities very different from each other in terms of age and attitude but bringing them together in a way that doesn’t feel forced.

This is a movie about disguise, denial, alienation and the terrible toll taken on the people who make a stand that their fearful or resentful contemporaries see as odd, eccentric or foolhardy – but will later sheepishly admit were entirely right.

This week we learned that 99% of Sun readers want a return to capital punishment. I learned that 100% of me wants it for 100% of people involved in this romcom.

What makes the film so compelling is the ferocious ingenuity with which Moodysson ratchets up the fear and astonishment that accompany Lilya's all too believable descent.

It may seem grainy and fusty compared to the all-action tongue-in-cheek spectaculars that came later, but it's the Bond closest to my heart.

It’s an engaging and spirited piece of work.

It is an intriguing and empathic study, which could help all of us to understand.