A deliberate almost-thriller that provokes many questions, but leaves answers equivocally out of focus right through to its conclusion.

With God Exists, Her Name Is Petrunya, Mitevska has fashioned yet another bleak satire about Hegemonic masculinity in the Balkans.

There are moments in Bel Canto that stretch credibility but the tension never lets up.

As a piece of extraterrestrial-tinged whimsy, Lifeforce occasionally shows weak signs of life, but in the end it falls well short of achieving classic status.

All of Gilliam's little details are fun and there are some laugh-out-loud lines, but the actual story itself is never compelling and simply doesn't zip as it should.

Mitchell's understanding of punk seems to be the brandishing of two or three cliches, shouting a lot and name-checking bands.

Racer and the Jailbird is a stylish, often promising film, but sadly one that never coheres into genuine drama.

The visual aspects of the film cannot override the sometimes cumbersome dialogue that orientates political scenes of this subject matter.

The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.

There's no doubt that the people that Fox singles out are worthy of his cameras attention, but it doesn't equate to a coherent feature film as much as an enormously wasted opportunity.

The found footage format has been milked to death of late... but here it's used to fully immerse the viewer, ensuring that the characters speak directly to the audience and, with the removal of the third wall, throws them straight into the lion's den to create maximum discomfort.

Out of Blue undeniably works as a stylish, psychological neo-noir, but significantly less so as metaphysical rumination.

Mary Shelley is a film at relentless pains to tell us how poetic and ethereal its heroine is, but without remotely grasping the political and philosophical underpinnings of her work.

David Leitch once again proves himself one of the most adept action directors in Hollywood.

It is a kooky, touching, continually droll comedy drama that treads simultaneously familiar and unusual ground in its exploration of grieving for a sibling, more specifically a twin.

Rarely has China's explosive economic growth been captured with such grace and with such a heavy heart.

Leach's camera remains sympathetic to these characters. He doesn't judge, and for a time it is intriguing to see why these people are so obsessed with this myth.

There are some dumb thrills to be had but there is also the sense here of an ambition not quite realised.

The art direction, cinematography and costume design are superb.

Rio 2's Amazon adventure finds its wings clipped by more tired and unnecessary subplots than you can shake a feather at.

Barnz's Cake could have been an intriguing look into the world of chronic pain and depression, but trying to be a jack-of-all-trades ruined the film and left it a master of none.

Clearly modelled on a familiar western narrative, Pablo Fendrik's The Burning (2014) both embraces and playfully inverts the tropes that define its genre classification.

What begins as an intriguing premise is gradually squandered, used as little more as background noise for comic tics and lazy characterisation.

Eaten Alive is plagued by Hooper’s endlessly strange directorial choices, particularly when it comes to getting performances from his leads. His efforts confound rather than disturb.

Molero's film is a challenging and truly contemporary work: a forceful, if imperfect, look at the shifting sands of digitally-mediated reality and the people balancing on its surface.

The material is weak, overly familiar and cliché-ridden. Dolan throws the cinematic sink at it but his latest feels like a shorter, not particularly watchable sequel to August, Osage County.

It is as glitzy and gaudy as the festival itself, with its vacuous politics drowned out by the thunderous sound of it slapping its own back.

Taken as a transient, high-paced and familiar rock 'em, sock' em kind of film, it packs quite a punch.