François Ozon’s Young & Beautiful is, in the very best sense, a film that won't add up.

This is a fun piece of play-acting for as long as it lasts, but it never quite feels like much more. Things may become kinky in front of the lens, but you can sense Polanski lurking behind it throughout, always ready with his safe-word. Cut!

[A] stately and ambitious ensemble drama.

So hauntingly perfect is Barnard’s film, and so skin-pricklingly alive does it make you feel to watch it, that at first you can hardly believe the sum of what you have seen.

The real reason to see this is Swinton and Hiddleston’s sexy, pallid double act: two old souls in hot bodies who have long tired of this Earth, but have nowhere else to make their home.

Dialogue aside, the craftsmanship is unimpeachable, and Gray takes a timeless approach to pacing and camerawork: even the sunlight is sepia-tinted. But the grand themes of loyalty and ambition never catch fire, and the film’s few truly memorable moments are invariably its smallest.

A shimmering coup de cinema to make your heart burst, your mind swim and your soul roar.

The film’s scope is limited, but as far as it goes, All Is Lost is very good indeed: a neat idea, very nimbly executed.

This is a resounding return to form for Payne: there are moments that recall his earlier road movies About Schmidt and Sideways, but it has a wistful, shuffling, grizzly-bearish rhythm all of its own.

An enjoyably silly police thriller,

Throughout the film [Escalante's] camera tends to be lurking in the middle distance; coolly observing everything that passes through its inquisitive frame, leaving the messy business of reaction to us.

Only God Forgives is the spectacle of a brilliant young director spinning out in style. It’s a beautiful disaster.

Bad scripting, bad plotting, terrible joke formulation, and not a single character actually having a hangover until part-way through the end credits. What kind of a Hangover movie is this?

This is a masterpiece of serious cinema; long, slow and grave as the grave.

This is instant A-list Coens; enigmatic, exhilarating, irresistible.

Coppola’s uproarious and bitingly timely film feels every inch a necessary artwork.

Before, after, and between these (action) sequences, even by the paltry standard of previous scripts, it’s slow-witted and won’t shut up.

Flies buzz, sweat trickles, negotiations continue, and you feel your breath dry up.

In the end it amounts to not much, but in the moment I laughed a lot.

It is one of the year’s very best films, a great, rumbling thunderclap of genius.

As metaphors for life go, wine has a very high yield, and Gilles Legrand’s sensitive screenplay tramples out every last drop of juice.

I’m So Excited! is vertiginously disappointing in the way only bad films from great filmmakers can be.

A large portion of Star Trek’s audience may well be satisfied by a film that amounts to not much more than an incredibly pretty and sporadically funny in-joke. But think back to the corny romance of that original mission statement, recited by William Shatner on many a rainy school night. Strange new worlds. New life. New civilisations. Boldly going where no man has gone before. That pioneer spirit? It’s gone.

The film’s glib disregard for collateral murder runs to farcical extremes.

On his broadest canvas yet, Trapero mounts a saga about the role of conscience, which might seem old-fashioned if it weren’t so urgently imagined. An added fillip is Michael Nyman’s stirring score, his best in years.

It’s a lovely, coherent piece of storytelling, with a unique sense of place.

Carruth creates a wholly compelling world. And despite my irritation with his deliberate obscurity, my immediate desire when it ended was to stay in my seat and watch it all the way through again.

An acutely compassionate account of unshakeable guilt.