Certainly difficult to define, this period piece messes with genres, power relationships and your head.

Judy Garland's most famous role and her best performance make for entertaining viewing.

Style over substance, but very stylish indeed.

Not as affecting as Ozu's classic Tokyo Story, Late Spring still charms with it's similar theme of development of the parental bond as the children mature and become more independent. Although well acted, the visual are equally arresting but when the themes are so similar a new approach is required to keep it interesting.

Hitchcock's penultimate film deals with many of his previous themes with typical grim comedy and insight into a psychopathic killer's mind.

An intelligent, engagingly honest study of love lost and, just maybe, regained.

Hollywood over-indulgence at its best.

It's Sarah Polley through and through: slightly too glum for its own good, but reeking of quality and feeling.

Farhadi’s gifted storytelling and direction is on show again in a damning look at Iranian society.

Not for anyone with a sensitive gag reflex. Joshua Marston provides a harrowing depiction of drug- muling for dummies. The raw, revolting, dangerous details of such an undertaking are graphic.

Holocaust drama shot like costume drama, creating a sense of aesthetic disharmony.

A gentle trance-out and the strangest Palme d'Or winner in a while.

There’s beautiful visual and verbal comedy, and the film has the creative spontaneity of a dream, foreshadowing Spirited Away (it influenced Miyazaki). However, the lack of momentum and focus may end up boring children, while the English dub actors sound a little stilted.

Appealing, emotional and with a strong enough performance by Rice-Edwards as the boy in his own little war-free world.

Sumptuous and self-indulgent, Sorrentino's latest is a Fellini-like feast for the eyes.

The simmering implication of incestuous emotions between Lili and Roy, leading to the shocking denouement, is badly underdeveloped and mishandled, leaving a lingering sense of anti-climax.

Andersen makes a far from inspiring guide, intoning his humourless points in a dry-as-powder monotone.

A decent but unremarkable film with a big, unforgettable central performance. Carey Mulligan passes with First-Class Honours.

Curious allegorical epic which was supposed to speak to Allied spirits during the second world war but was a trifle obscure in its symbolism even then.

While you cannot dismiss its place in history, its power is in what it represented rather than what it did.

Shows the famed songwriter's performance and work off with reverance, and a faithfullness to the live experience.

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.

This drama is a little too sedate to make its mark, but director Walter Salles delivers a sensitive portrait of Eunice Paiva's family life during a period of traumatic upheaval.

An award-worthy performance from the reliably exceptional Andrea Riseborough elevates an affecting portrait of the road to recovery that fails to tread new ground.

Not one of Nicholson's best, but an enjoyable comedy nonetheless.

It demands patience and an open mind, but Lowery’s return to his indie roots after Pete’s Dragon is a highly unusual and, at times, emotionally shattering fable.

Two of cinema's most iconic stars on top form make this worth a good look.

Delightful, but bum-numbingly slow.