The performances are credible, but set-pieces like the water-cannoning of a procession of burkha-clad protesters are also impeccably judged.

This time the banter is tighter and funnier, and Calvin’s musings on the importance of community seem more heartfelt.

It seesaws between disturbing psychosis and freewheeling nouvelle vague romance, then turns awkwardly editorial in the last reel.

Garin’s performance is just one of the note-perfect elements in The Return -- unfussy acting, unhurried direction, sublime cinematography and low-key music -- which conspire to draw the audience into a deceptively simple story with numerous hidden depths.

For its target teen audience, it's a decent enough movie.

If you pay out money to see this, you got fleeced.

Extreme and outrageously blasphemous.

It’s sexy, offbeat fun for the most part, but it’s way too laid-back for its own good and, in the end, obstinately refuses to be anything more than the sum of its highly promising parts.

Win A Date With Tad Hamilton is a valiant attempt to create a love triangle, but ends up getting all its sums wrong.

Arguably worse than its sadistic absurdity is the depressing, limited scope.

It’s not bad, but given all the talent involved, it would have been nice for Hamburg to push the envelope a bit further and deliver something with real bite. As it is, this is more of a pleasant, but forgettable, time-filler.

Has a vigour, a commitment and an intelligence that is absent from too much modern cinema.

Stylish and gripping at times, this wry very-French gender satire is definitetly entertaining but falls down a little in the third act.

Offbeat and downbeat, it’s a film full of thoughtful stillness, powerful moods, reflective internal struggles and shattering, lonely self-realisation, suggesting more critical kudos than commercial impact.

The film works best when it taps into the chaos generated by the kids, and there are a number of suitably anarchic Home Alone-style set-pieces.

As he did with "The English Patient," Minghella has reshaped the novel’s structure, zeroed in on what matters cinematically and dramatically upped the emotional stakes.

in the end, Paycheck never quite cashes out.

Tonally the film is never more than the sum of its parts, while Sumpter, although physically perfect, just isn’t charismatic enough as Peter.

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

There’s enough dark humour to entertain.

There are some roles Julia Roberts was born to play -- a tart with a heart, say, or a likeable and famous actor -- but a charismatic, inspiring 1950s teacher is not one of them.

The film's status as must-see documentary of the year is indisputable.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

Those who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll.

one of the rare book adaptations that actually benefits from a visual makeover.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

It also takes too long in the final act to write itself out of its plot entanglements, and ends up looking rather too pleased with itself.

Decent belly laughs occur, but they are spread thinly over a prolonged period.