Osborne's courageous hatchet job on Fielding's 1,000 page classic novel and Finney's gutsy performance add up to produce an enjoyable piece of irreverent entertainment.

Sure, it’s a somewhat honeyed portrait that lacks voices to put the other side across. But as the flimsiness of the case against Assange is laid bare, so too is a system that tried to suffocate, torture and crush him to protect its interests.

You'll be arguing with your friends about the ethics of secrecy and defense for hours; that's what makes these exit interviews so essential. They come late to the spy game, but are welcome regardless.

It’s definitely a horror movie but a wonderfully witty one, not for gentle souls.

A chase movie becomes an outdoor courtroom drama, and Thornton wrings from this fable of rough frontier justice a statement from the heart. Australia now has its "High Noon."

David Lean’s black-and-white masterpiece may be a whirlwind tour of Dickens’ novel, but what a well-performed, economic and atmospheric tour it is, and one that manages in two hours to capture much of the chronological and emotional sweep of a 525-page novel.

Yes, he is at times hard to watch. But Fraser makes The Whale a deeply empathic and touching experience.

There is a sense of déjà vu all right, but this is an extremely attractive valediction to youth, with farcical underpinnings ably handled by Reynolds.

What makes things different is the way Blumberg strikes an assured balance between dour downward spirals and “work the program” uplift, gifting these flawed people with both a sense of hope and the knowledge that it will never be enough.

Mixing early-’80s nostalgia with mild social anthropology, the film successfully crystallises the optimism and vivacity of the early New York hip hop scene and suggests that film and TV portrayals of the Bronx as a savage and inhospitable hellhole were perhaps greatly misjudged.

More than just another franchise reset, Mutant Mayhem wrestles with its own cultural relevance (or otherwise) in interesting ways.

Although it’s impossible to fault the euphoric dance sequences and ultra-melodic tunes, the dramatic scenes linking the big numbers all fall flat and the illicit affair at the film’s core remains fatally underdeveloped until its fudged finale.

For a movie that's essentially about a piece of hardware-the legendary Neve mixing console, an imposing slab of knobs and meters - this geeked-out documentary beats with more heart than could be imagined.

The unspoken theme underlying Dickens’s prose--that the money-grubbing Ebenezer is conversing with semblances of his own self--finds near-perfect cinematic expression through Carrey’s efforts.

Diego Maradona has the football and the drugs – think Scarface with screamers – but it’s a surprisingly emotional ride too. In the spirit of all good docs, it’ll make you reappraise your feelings about the man and the myths around him.

This teen drama from Ireland is split almost perfectly down the middle: First, 40 understated minutes following a local golden boy named Richard (Jack Reynor) as he enjoys his last summer before college, trailed by 40-odd gut-wrenching minutes surveying the fallout from a single violent act he foolishly commits at a party.

The first of Corman's eight-film Poe cycle, and one of his most faithful adaptations. Price is his usual impressive self as the almost certainly incestuously inclined Roderick Usher who, having buried his sister alive when she falls into a cataleptic trance, becomes the victim of her ghostly revenge; but it is Corman's overall direction that lends the film its intelligence and power.

The truths that spill forth from this unlikely platonic love story are touching and deeply relatable.

Making use of locals instead of professional actors lends authenticity to this impressive look at a group of otherwise innocuous teenage lads in a boring northern French town (Bailleul in Flanders), driven to violence by a mixture of boredom, jealousy, macho pride and ingrained racism.

The unveiling is unnerving, and suggests that some dangers are now permanently beyond our control.

Fate intervenes at an indecent rate, serving up plenty of misunderstandings, but the mise-en-scène is stunning. Go with the floe.

This has the warm, cosy sense of a film that, even with its few flaws, could very easily become regarded as a festive classic.

Almost as an afterthought to the ringingly true performances--and Marco Bellocchio’s unusually approachable direction--comes a deft analysis of fascism, likened to lovesickness, insanity and a gust of orchestral strings. It’s all of that and more, not to mention a lousy matchmaker.

Sean Connery took a break from Bond to give a sterling performance in this awesomely intense drama set in a North African British army camp, where the favourite punishment for prisoners is to send them clambering up and down a man-made hill in the full heat of the day.

This isn't the kind of doc to explain everything (or anything, really)-it does honor its subject, though, and that's plenty.

Director Thomas (once Sgt Lucy Bates of Hill Street Blues) has recreated '70s sitcom-land with the kind of unerring attention to detail Merchant-Ivory lavish on a society ball, and she's drawn hilariously synthetic performances from a shrewdly cloned cast.

Wilkerson’s book offers a new way to look at age-old concepts. DuVernay’s film gives us a new way to process them.

The thematic approach no longer works (if it ever did); the title cards are stiffly Victorian and sometimes laughably pedantic; but the visual poetry is overwhelming, especially in the massed crowd scenes.