An effective shocker which has the blind Hepburn alone in the house when psychotic villain Arkin and his hoodlum pals (Crenna and Weston) arrive to retrieve a doll containing heroin which her husband (Zimbalist) unwittingly brought through customs for them. Though based on a stage play (by Frederick Knott), the skillful use of interiors for once transcends the visual limitations.

Watching Raw is a bit like seeing a toddler crawl toward a four-lane highway. You can’t tear your eyes away, but at same time you want to squeeze them shut. This is a film that doesn’t just put you through the wringer; it scrapes your insides out. It left me trembling for hours.

Bowie’s performance is riveting, drawing on his history of mime to play a man who is almost, but not quite, one of us.

For a film posing the metaphysical biggies, there is tenderness and laughs. Its bonkers approach to storytelling and life may drive some nuts. The rest of us will soar with the birds.

There are no interviews, characters nor narration, and after an hour it can feel like a chore. Yet the images are staggering.

Overall this is a stupendously entertaining movie, crammed with delights.

Skyfall is a highly distinctive Bond movie. It has some stunning visual touches.... Also, it mostly manages to convince us that there’s something at stake by giving a hint of Bond’s emotional life beyond this story.

You won’t know whether to laugh or cry.

If you’ve ever sat at your desk wondering whether there’s more to life, or been kept awake by an insidious hum in the darkness, this will speak to your soul – even as its enveloping, disturbing, uplifting story sends your mind reeling with giddy possibilities.

Overall this is an absolute pleasure. There are times when Waititi’s script borders on genius.

All the performances are impressive, but Gleeson and Voight are especially memorable, lending an almost tragic air of inexorability to Cahill and Kenny's cat-and-mouse games.

It’s disappointing when Starred Up begins to lapse into soapy cliché.

In its own restrained way, this drama packs an emotional punch.

This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.

The plot, concerning the battle of wits between an honest cop and an ambitious politician for possession of the key witness in a Mafia exposé, is serviceable but nothing special. But the action sequences are brilliant, done without trickery in real locations (including a great car chase which spawned a thousand imitations) to lend an extraordinary sense of immediacy to the shenanigans and gunfights.

The largely non-professional cast are as authentic as the craggy, unforgiving surroundings, and the way the film balances the simplicity of its central rite of passage with a broader outlook on a people caught in the shifting sands of time is a tribute to the filmmakers’ clarity of vision. A truly memorable first feature.

While the characters lack credibility, the social backdrop and texture of the performances certainly don’t, and Villeneuve manages to say more about the sorry state of the Middle East (Lebanon is suggested but never mentioned) through the bold, crisp way he shoots faces, buildings and parched, beige-brown landscapes. So let’s call it’s a strong film based on a weak story.

As an insight into the way families cope with adversity this is both razor-sharp and completely heartbreaking.

It's a bold film, full of energy and spunk, but a patchy, half-formed, rambling one too.

The film is about storytelling, about how we make connections between people, places, objects and time to create meaning, and how, when these connections shift, meaning changes. Best of all are Screamin' Jay Hawkins and Cinqué Lee as argumentative hotel receptionists hooked on Tom Waits' late night radio show. They, and Jarmusch's remarkably civilised direction, hold the whole shaggy dog affair together, turning it into one of the best films of the year.

There’s great energy to this film: quick dialogue, snappy performances and a lived-in feel make us quickly believe this world, its characters and their hang-ups.

One of Ritt's best films, with fine performances all round, impressive Death Valley locations, and superlative camerawork from James Wong Howe.

Abrahamson has pulled off something quietly remarkable: a study of morality which never feels like a treatise, a bracingly realistic film about teenagers which never becomes patronising and a gripping melodrama which swerves sentiment. He may also have unearthed a genuine star.

This woman has plenty of blunt wisdom to share.

If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.

It's a road movie where the origin feels more interesting than the destination, but it's never less than warm and likeable.

A startling examination of how artistic principles translate into real-world actions, and a moving portrait of a genuinely, unexpectedly brave man.

The struggle for LGBT rights in Uganda might sound like a dry or distant subject. It’s the achievement of Katherine Fairfax Wright and Malika Zouhali-Worrall’s shocking, moving, enthralling and enraging doc to make it lively and urgent.