An intense, emotional ride. Uplifting and inspiring.

With Haskell Wexler's splendid photography and Leonard Rosenman's fine score, the film provides a poetic yet authentic view of Depression-era America with the symbolic figure of Guthrie (an impressive David Carradine) at its very centre.

Terribly dated, but worth watching for Caine's performance.

Within Allen’s recent output, Vicky Cristina is the highlight. See it for beautiful locales, an ambivalent look at human relationships and a clutch of great performances, especially from Cruz.

Intelligent and challenging: Mann's crime epic could take two viewings to fully absorb, but it's worth every devoted minute.

Serving up stone-cold multiplex mayhem, Sisu makes no bones about it — this is a film about one mad bastard killing a gazillion Nazis. It’s almost impossible not to love it.

Hood handles his material so deftly that a conclusion which could have been mawkish and sentimental is instead bittersweet, both painful and quietly affirming.

Well-served by a laudably authentic ensemble, the director explores both character and ethnicity with a canny wit.

Walker was Oscar nominated for Waste Land this year, and while this occasionally unfocused doc doesn't hit those heights, it's still a valuable and scary film that should be seen.

Sensibly dramatising a few representative days rather than Giacometti’s whole life, this may seem slight, but there’s a lot to dig into here — and Rush hasn’t had a showcase this good in years.

Quick on its wits and fast with its fists, this is Black firmly back doing what he does best. And nobody out there does it better.

An over-strung last act aside, this is funny, brilliant and sickening all at the same time.

Unlike in The Pink Panther, Clouseau was the real star here.

Apart from a sprinkling of Wilde's legendary bons mots and a few fleeting visits to theatres where audiences cheer Lady Windemere's Fan, there is disappointingly little here to suggest the complexity of his mind, the range of his writing or, crucially, the importance of being Oscar.

C'mon, it's Fred and Bing! Depending on your disposition, you can take that as a recommendation or a warning.

Enough large-scale spectacle scenes to outweigh the inevitable religiose sludge that creeps in between them.

Aptly for a film so concerned with time, Button is 13 minutes shy of three hours and just flies by. If this is Fincher selling out, can he sell out more often please?

Eichhorn, who should have had a much bigger career, is luminous as the sad-eyed heroine, while Heard pulls off the showy role - especially in a climax that finds him rampaging through a posh party at the Cord estate in search of justice.

A wholly captivating date movie for eternal romantics who also enjoy slime-and-tentacle transformations.

Tessa Thompson has never been better as the titular not-so-desperate housewife in Nia DaCosta’s bold, stylish reimagining of Henrik Ibsen’s timeless play.

Keaton handles her appealing ensemble, the early 60s period and child's perspective of tragedy, love and reconciliation with a sure, gentle hand.

Naomi Watts’ exceptional performance is the crucial element of this moving if flawed tale. The film to see if you’ve ever wondered how to tackle grief with a ginormous dog in the Big Apple.

Bruising and beautiful in equal measures, La Mif is an impressive slice of social realist drama that feels rooted in something real — because it is.

Made on a budget that would just about cover Kong’s left bicep, Colossal is cool, smart filmmaking, with plot developments that will be talked about for a long time to come.

An affecting, impressive debut from a filmmaker with an innate taste for modern America's clashes of conscience. An important document.

Abel Ferrara out-sleazes even his own grubby oeuvre with this powerful if overbearing study of a soul swallowed by depravity.

Far too light and reliant on the Hollywood romantic clich_ to explore its topic intelligently, and - appropriately enough - leaves Kline looking like a Muppet.

Assayas' attempt to present a multi-perspective Polaroid view of Adrien and his circle fall back on the tired technique of abruptly punctuating grainy, handheld sequence with jump cuts. A disappointingly sterotypical French film.