Despite the almost caricatural Frenchness of the premise, this is a superbly acted and intricately directed drama that makes a virtue of its very human feelings and follies.

A strange foreboding of what was to come from the Hitch.

This documentary has value as a damning account of the film-world’s treatment of a child actor, yet as a piece of art and a personal portrait, its vagueness creates unease.

It may look like a documentary but Gibney's film is a horror film in every sense. Essential, uncomfortable viewing.

A light, funny, blissfully entertaining flick about heavy, sadly still relevant themes.

A disquieting tale set in the grim realities of trashy America. Some great, often insane performances make it a memorable trip.

Still not an essential series like Bourne or Bond, but this entry has a refreshingly light touch and some of the best action of 2011. See it at an IMAX for optimal vertigo-inducing effect.

Hive cooks up a beautifully delicate rally for independence and justice, brought out through precise processes of the communal culinary experience. Although not entirely well balanced, it makes for nourishing, inspiring viewing.

A character-driven thriller with more twists than an off-the-map dirt road, awards-quality performances from the three leads, a rare sensitivity to the after-effects of horror and a sure directorial hand. Mickle and Damici officially segue from ‘promising’ to ‘delivering’.

Dramatic disappointment aside, there is a feel for the unglamorous, demanding lives of the real dancers.

Falling on the meaty, potential role of a lifetime like a ravenous lion, erstwhile comedian Jamie Foxx, so good in "Collateral," is just wonderful as the eponymous star.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

Demonstrating that the greatest political evil is indifference, this appeal to a world on the verge of war has lost none of its relevance.

Whilst paranoid in a very 1950's way and a little downbeat at times this is very enjoyable.

A bold social satire that never loses its sense of fun, Dead Pigs finally lets us confirm what Birds Of Prey already suggested: Cathy Yan has a sharp eye and a fearless voice — we’re lucky to have her.

A by-the-numbers boot camp drama elevated by resonant emotional truth and seen through the revealing lens of all-too-lived experience.

Bold and breathless, this trippy, hilarious, know-it-all comedy-thriller will have you reliving its ironic spoils for days, but you'll still be hard-pressed to nail the actual story.

It's hard to imagine that even a documentary on the apparently harmonious marriage of Paul Newman and Joanne Woodward -a union established in 1958 and still going strong - could be duller than this stodgy addition to the Merchant-Ivory menu of good taste.

A small film, but fresh and immensely charming.

Trying too hard and generally too trying. Seek out Howard Hawke's Bringing up Baby instead and be done with it.

Like Driving Miss Daisy this deals with a white employer and a black servant in the times of revolution, not only that but in both films it's a jaded view with the servant being loyal and not a 'friend'. Besides that small problem, it's a moving film with a steady performance from Spacek, but by the end it has definitely become Goldberg's film.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

A gorgeously rendered and deeply personal portrayal of a young woman’s life in the part of the world where history’s greatest conflict reached a devastating conclusion.

A voluptuous slice of historical drama that will satisfy period fans and Mikkelsen admirers equally.

A bizarrely strait-laced project for Todd Haynes, Dark Waters lacks dramatic oomph but compensates via a well-mounted telling of a terrifying story, driven by still contemporary concerns and a convincing central turn by Mark Ruffalo.

Tsangari proves she's one of the freshest voices in European cinema with this offbeat character piece.

Even while laughing at lines like, “Black people don’t do bungee-jumping, it’s too much like lynching,” you’re still left thinking that the funniest man in the building was not actually in front of the camera.

Gripping, claustrophobic drama.