What emerges is a sympathetic portrait of a genuinely idiosyncratic, outrageous individual whose towering musical talent never stood a chance against his rampaging personal demons.

This is all fun all the time, a dizzying carnival of wisecracks, fisticuffs, explosions, chases and truly eye-popping effects.

Precious Cargo isn’t actually as objectionable as your average petrol-station-bargain-bin thriller, thanks to one or two half-decent lines, a plot that vaguely makes sense and an unexpected dearth of outright misogyny. It’s still pretty rubbish, though.

The visuals are painstaking and horribly beautiful – shades of Hitchcock, Carpenter, even Spielberg – while the gore scenes are truly outrageous, knocking cheap imitators (hey, Nicolas Winding Refn, this is how it’s done) into a cocked hat.

Men & Chicken is a fun film but rarely a funny one; clever comic touches abound but are undermined by some base slapstick.

It’s time to put this franchise on ice for good.

An intimate, warm embrace of a film, it radiates joy and harmony despite playing out entirely in the shadow of a difficult father's death.

There are times when Cell feels like a surreal pastiche of po-faced apocalypse movies. But no such luck: this is every bit as bad as it appears.

Intelligent and screwball-funny with clever and complicated female characters.

Skarsgård himself is fairly bland as Greystoke, delivering a po-faced Byronic spin on the character, all velvet coats and dreamy romantic stares at his belle while sitting barefooted in the boughs of trees. But at least the animals are memorable – best of all is a pack of scene-stopping silverback gorillas digitally created for the movie. This Tarzan isn’t quite the jungle VIP – but it’s got a little swing.

This is one of those romances where the woman only exists to be a figure of worship for a nerdy, socially awkward young man, whose side we’re meant to take unquestioningly. Sorry, Pif, but you’ll need to try a bit harder.

The photography is starkly lovely, the slow drip of information is smartly handled and the central performances are appealingly ambiguous.

Everything here feels inauthentic, from the cast speaking their lines in English to the unthrilling final escape attempt.

It’s all too much too fast, and the cumulative effect is like watching a two-hour trailer – more dizzying than thrilling.

The word "personal" is bandied around a lot in film reviews, but it’s hard to think of a work that better fits the description than avant-garde icon Chantal Akerman’s intimate swansong No Home Movie.

Cruz has enough charm to melt a glacier, but she can’t rescue the shamelessly sentimental script by director Julio Medem (‘Sex and Lucia’). Ma Ma is going for the heartstrings, but don’t bother taking tissues.

How much you love this low-budget British effort will depend on your tolerance to quirkiness.

There are some funny-sweet observations about pets and our projections on to them. And the animation is expressive.... But the manic pace, piling on the action sequences, is exhausting.

Thank the movie gods for Dwayne Johnson, who delivers a performance of such charm, such unexpected goofiness that the screen practically glows every time he appears.

This Danish crime thriller is so dark and stormy it will leave you dazed as the credits roll.

Never less than professional, rarely more than functional.

It’s refreshing to see a movie like this directed by a woman, Eva Husson, so boys and girls are objectified equally. Which is not to say this passes the feminism test.

Unique and intoxicating, an art movie that grips like a thriller.

The film's quietly angry plea is for compassion, understanding and more than one eye open on this modern horror.

Makhmalbaf says he was inspired by the Arab Spring, and his film is pitched somewhere between allegory and satire.

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.

After a ruthlessly focused, almost-Hitchcockian first hour, Na’s film fans out into a flabby, multi-stranded gang war and loses all sense of purpose.

[A] calm, reflective, gorgeously uneventful slice of nostalgic romance.