Foster is simply fantastic as the tough Sarah, unshakeable in her belief that justice has not been done and that she has a right to demand it. McGillis, from a slow start, builds beautifully and by the time the action has switched to the courtroom, she has shed her starchy persona for a true advocate's passion.

A few flat ideas aside, this is a handsomely made horror film that expertly utilises the frightening talent of its young stars and draws Wright into a new, exciting chapter.

It’s overly long and the Rosie Perez sub-plot leads it astray, but mostly, it rocks.

A brutally intense indie that commits to its bleak premise and doesn't back down. Tarantino will cackle as he watches.

A quartet of great performances and gorgeous scenery go some way to compensating for some strange variances in tone.

1954 musical that is woefully miscast in places and extremely dubious in its portrayal of African-Americans but does boast an on-form Dorothy Dandridge.

As meticulous as one of Claudel's sculptures, Hors Satan director Dumont and his star do this true-life story justice with an empathetic telling.

The script hasn't aged well and their's an overdose of the ominous, but when Ford forgets about religion and concentrates on squealer-on-the-run thrills, the film still has a real charge.

Judy Garland is magnificent in this charming musical with a number of star turns from the impressive cast.

Ferrera successfully breathes life into an old franchise, with only a slight small change in the narrative but making the aliens significantly more frightening. Anwar is equally intuitive and sassy enough to make her a likeable and believable heroine and although the effects aren't up to much, there are still plenty of scary moments.

While all of the signature elements are present and correct, right down to the soul-shrivelling hard stare, some of the warmth and wit and dashes of brilliant eccentricity we’ve become used to are absent.

This director's cut might smack of self-indulgence, but it also says much about love and loss and the language of an artform that flirts with realism while remaining an illusion.

Margaret Qualley is lively and engaging, but Stars At Noon is let down by a wearingly meandering plot and lacklustre chemistry. Not one for the Denis hall of fame.

Manipulative and preachy, The Butler is redeemed by a sensitive performance from Forest Whitaker and the undeniable power of the events it depicts.

A tough but very rewarding watch.

Prettily shot and with moments of emotional power thanks to Jodie Comer’s performance, The End We Start From is involving and unpredictable, yet strangely cold when it should be searing.

It’s almost as structurally daring as "Memento," demanding that the audience fills in the gaps.

Like Chronicle, it's a fresh spin on the high-school flick. Unlike Chronicle, its execution never quite matches its ideas.

Triebel is an outstanding presence in this slow-burning thriller, which continues to smoulder long after the credits roll.

It still feels old-fashioned rather than timeless and even on its family entertainment terms, it just doesn’t quicken the pulse-rate.

You don't watch it, you survive it. A battering experience, and the hardest Brit horror in years.

With a heavily improvised script Cassavetes gets the most from his actors, each giving emotive performances.

Though this spin-off from the excellent animated Batman TV series, was too dark to catch the audiences who flocked to The Lion King, it is certainly the best cartoon feature of 1993.

Tense, powerful and considerably less crass than "Crash," Elah may be jammed with ideas that don’t all connect, but Jones’ devastating performance makes this a compassionate and very human look at the Iraq conflict.

A smart, tense, well-acted thriller undercut by a disappointing finale and an occasional lack of focus. But at least this offers something for those looking for a film with more on its mind than simple set-pieces.

An interesting stop-gap in the slasher genre.

The powerhouse of the film is Tim Curry's cross-dressing alien, Frank N. Furter, who would never reach these kinds of gloriously demented heights again.

The charming performances make this a win for colourblind casting. On the list of period romcom requirements, the sweet love story ticks all the right boxes.