A small but sweetly formed comedy of romantic misfortune that can’t quite keep Hollywood at bay.

This slick and sticky horror is the most accomplished treatment of vampire lore since Near Dark.

A superior, haunting thriller of abduction, deception and ethical dilemma with a sobering ending - a moral quandary that demands strong debate outside the cinema.

Disappointingly dull given the explosive subject matter, this at least attempts to get a message into the mainstream. An extra star for effort rather than execution.

The script is structurally similar to "21 Grams," but restrained turns and perceptive direction make this honest rather than manipulative.

Despite being occasionally hilarious, director Goran Dukic should have toned down the wackiness.

Over-indulgent and melodramatic, as is the nature of artistic mythmaking, The Golden Age will beguile and repel in equal measure. The performances are supreme, although some viewers may struggle to reconcile the director’s epic intentions.

A strangely affecting romance with real heart -- and another sign that Gosling is one of the best young actors around.

Minus a couple of brisk, black laughs, this hollow remake botches the twists and sucks the fun right out of its feisty source.

A highly engaging documentary that recounts a remarkable tale. Young Marla is clearly talented, but so too is her father…

Funny peculiar and funny ha ha, with a spontaneity and energy that gather up a powerful emotional head of steam as it chugs along.

Even The Rock's immense charisma cannot save this predicatable fare.

Not quite as smart as it wants to be, and a better action movie than it is a political thriller, this is still a heart-pounding drama.

A beautifully rendered, long, drawn-out but ultimately very satisfying story of betrayal and revenge in an uneasy setting of wartime paranoia.

If "Wedding Crashers" is in your top ten rom-coms ever, you might not hate this. Otherwise, it’s too gross to be sweet and too sweet to be gross.

With the whole of America as his backdrop, Penn pulls off his most ambitious movie yet. The result is a beautiful and thought-provoking road movie.

Better than the silly second instalment and boasting an effectively creepy empty world setting, it’s nevertheless scuppered by a lack of coherence.

An extraordinary and visionary study of a legendary murderer’s famous fate, within touching distance of Oscars.

Quite a nice little relationship comedy-drama, but essentially for an audience of what the French charmingly call ‘women of a certain age’. Totally not the Superbad set, then.

A load of kids singing Beatles tunes? You better believe it.

More Sunday afternoon filler than cinema sensation, it’s a perfectly pleasant drama, but you’ll struggle to remember it the next day.

Mortensen shines but a contrived, issue-driven plot destabilises what could have been a great Russian gangster movie.

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.

It wants to be a modern "Taxi Driver"; it manages to be the new Falling Down, with Foster as fierce as ever.

This wonderful documentary succeeds as a reminder of human endeavour.

With not enough balls to be fun, and not enough brain to be cerebral, there’s not much going on behind those pained Western expressions to entertain.

A sad story, but well told, with respect for its subject and an eye for the Shakespearian tragedy in the tale.

Johansson is no Anne Hathaway in this pleasant but forgettable comedy.