First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.

A solid watch for gore fans.

It’s impressive but not dazzling.

This is an imperfect film, bold but occasionally baffling, and one that in its final act grows into something much more exciting than you might initially expect.

A United Kingdom is just a little too cosy and sentimental for its own good.

Eschewing metaphor and mysticism (save insofar as his characters adopt them), [Dumont] has for once given us a film of immense visual beauty, thematic clarity and subtle resonance.

Origin of Evil takes a while to get going, and the demonic possession plot pretty much runs on rails. And yet there’s plenty to admire here: strong performances (‘ET’ legend Henry Thomas is a welcome sight as a kindly priest), top-notch jump-scares and some unexpectedly lovely, almost ‘Far From Heaven’-ish autumnal photography.

The result isn’t as powerful as it should be. But it’s still cheering to see a film whose moral journey has little to do with the usual Hollywood chestnut of white middle-class consciousness-raising.

The film’s pleasures are simple – soaring landscapes, old-school DIY adventure and some sweet performances by the child actors. It makes for a charmingly old-fashioned family adventure.

A pleasure and an education.

The shattering downbeat ending is well earned and genuinely shocking.

The material inspires affection, given its knowing pastiche of everything from Universal horrors to '50s grade-Z sci-fi, and a shamelessly hedonistic, fiercely independent sensibility that must have seemed a welcome relief from the mainstream bombast of other '70s musicals.

Liman mines the story for familiar but fun comedy...though it never reaches the comedic heights of rise-and-fall classics such as Goodfellas or The Wolf of Wall Street.

Director James Wan has his method down. The scares are effective and the camerawork is superb, all lurking long shots and short sharp shocks. Wan is fully aware of the austerity-era parallels in his story, and the period detail is surprisingly authentic.... But there’s little here we haven’t seen before.

It has a rigorous, even unrelenting, grey, green and brown palette and, narratively, it’s tough to penetrate.

In this heartfelt film, Fleifel shows us the human cost of the conflict.

Stick with it and writer/director Alice Rohrwacher’s first feature reveals another side: taking a small town as a microcosm of Berlusconi’s something-rotten-at-the-core Italy.

Director Amber Fares strikes a perfect balance, telling a righteous, uplifting story of triumph against the odds without ever losing sight of the bigger political picture.

This might be the most downbeat blockbuster in memory, a film that starts out pitiless and goes downhill from there, save for a fleeting glimmer of hope in the final moments. It’s a bold statement about the unforgiving nature of war, unashamedly political in its motives and quietly devastating in its emotional effect.

Languorous pace and uneasy self-consciousness notwithstanding, it's in a similar bracket to the work of Hal Hartley and Atom Egoyan; it has a spaced-out charm of its own. And Glover's ludicrous wardrobe and whip-dancing skills make this a must for completists of Crazy Crispin.

An enjoyable if slightly innocuous biopic based on the brief life and short-lived fame of teen rock'n'roll idol Richie Valens.

The whole thing goes down with a few bucketloads of sugar. What keeps it from becoming sticky schmaltz is Thompson, who plays Travers with wit and warmth, adding a spoonful of spoilt child to help the battleaxe go down.

Anyone expecting gritty realism will be disappointed, because Hill is offering something better: shooting entirely on NY locations at night, he has transformed the city into a phantasmagoric labyrinth of weird tribes in fantastic dress and make-up who move over (and under) the streets as untouched as troglodytes by the civilisation sleeping around them. Mixing ironic humour, good music, and beautifully photographed suspense, it's one of the best of 1979.

This is a lavish pull-out-all-the-stops musical.

They do make 'em like it any more.

Janiak has succeeded in making what she calls ‘an elevated genre story’, yet much of its frightening psychological ambiguity is erased by a disappointingly conventional ending.

Really, this is David/Walter’s show. For reasons too spoilery to give away, Fassbender is electric, giving a spectacularly skin-crawling performance.

Ellis’s twisty plotting gets too clever-clever for its own good. But it’s pacy, engrossing, and Jake Macapagal’s turn as the plucky schmuck protagonist is stellar.