Peter Bradshaw

La Chimera is a film that utterly occupies its own fictional space; it expresses its eccentric romance in its own fluent movie dialect. I was utterly captivated by this sad, lovelorn adventure.

Trier has taken on one of the most difficult genres imaginable, the romantic drama, and combined it with another very tricky style – the coming-of-ager – to craft something gloriously sweet and beguiling.

It’s such a delectable film: I’ll be cutting myself another slice very soon.

It’s a bit hammy and TV-movie-ish, but you can’t help smiling at its feelgood directness and warmth.

It is a wonderfully fluent, engaging story, with beautiful cinematography by Guy Green.

It is a tremendously engaging story which does something that very few movies do: mention money. Something very palpable is at stake, the jeopardy is real and it’s a question of survival.

That adjective in the title is accurate. Extravagantly deranged, ear-splittingly cacophonous, and entirely over the top, George Miller has revived his Mad Max punk-western franchise as a bizarre convoy chase action-thriller in the post-apocalyptic desert.

The film is a sharp reminder that the Queen has doggedly survived, because she has never been required to expend mental energy and political capital in shows of sincerity.

The film is an enormously satisfying and affecting experience.

It is even better than the first film, and has the greatest single final scene in Hollywood history, a real coup de cinéma.

Blue Is the Warmest Colour really is an outstanding film and the performances from Exarchopoulos and Séydoux make other people's acting look very weak.

There is such pure delicious pleasure in this film, in its strangeness, its vehemence, its flourishes of absurdity, carried off with superb elegance.

The movie is perfectly composed with a light touch that is the work of a certain kind of gravity and sophistication.

This rich and mysterious film is a real achievement.

This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.

It is dense with fear and sadness.

[A] deeply disquieting and indeed enraging documentary.

As with McQueen’s previously premiered Small Axe film, Lovers Rock, there is real fervour and real meaning here: it is film-making with visceral commitment and muscular storytelling.

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.

Ray's language of cinema is a kind of miraculous vernacular, all his own. It has mystery, eroticism and delight.

Oppenheimer is poignantly lost in the kaleidoscopic mass of broken glimpses: the sacrificial hero-fetish of the American century.

It is arguably the best film about the first world war, and still has a reasonable claim to being Stanley Kubrick's best film.

The crystalline black-and-white cinematography exalts its moments of intimate grimness and its dreamlike showpieces of theatrical display. It is an elliptical, episodic story of imprisonment and escape, epic in scope.

What a lovely film Paterson is.

I can still remember my 19-year-old self's awe at how Jake provokes a gorgeous, reluctant smile from the incandescently beautiful Moriarty. Throughout university, I was obsessed with this film, and watched it about once a month.

Paul Greengrass and his cinematographer Barry Ackroyd have created an intestinally powerful and magnificent memorial to the passengers of that doomed flight. It is the film of the year. I needed to lie down in a darkened room afterwards. So will you.

It's tremendously good fun, though lighter in tone than Ealing's two scabrous masterpieces Kind Hearts and Coronets and The Ladykillers, and not quite matching their elegant perfection; I've never been able to rid myself of the feeling that, however superbly set up, the aftermath of the heist itself is ever so slightly lacking in tension.

It is an intriguing confection of a movie, announcing its influences candidly, but exerting its originality too.