Already fêted, von Donnersmarck’s debut sets a closely focused, personal story against a more expansive backdrop of politics and power games -- a moving, enlightening tale of recent times.

A return to the Western in its pure, cinematic form.

A finely-acted, sensitively-written tale.

If your anti-Apartheid musical knowledge only goes as far as The Specials’ Free Nelson Mandela, this is a toe-tapping, thought-provoking education.

Two things make Eastwood's task easier for him: a superb cast and a cracking source novel. Dennis Lehane's book is one of the very best thrillers of recent years, richer in Boston detail and closer in character study than anything Eastwood manages to bring to the screen.

Argue that von Trier’s latest is theatre and not cinema. But at least acknowledge that Dogville, in a didactic and politicised stage tradition, is a great play that shows a deep understanding of human beings as they really are.

Estes enriches the plot by refusing to present each character's emotional dilemmas in black-and-white terms.

A film that, despite being about theatre itself, is remarkably cinematic and entirely unafraid to revel in the English language.

Stark, bold drama.

A rare film in which the style IS the substance.

A screen-acting showcase by a man whose best days, many thought, were behind him. There's life in the old dog yet.

Love is here in all of its many guises, brought together with a touch of subtitled sophistication.

The script is structurally similar to "21 Grams," but restrained turns and perceptive direction make this honest rather than manipulative.

A poignant reflection on what it means to be alive and, visually, a true cinematic experience.

Formula is now the name of the game, although a steady diet of stunts and shootouts ensures that the audience is never bored.

Performances are good but not career best.

The Year Of The Matrix will be remembered as an indulgence for fans, while the original movie will be affectionately held as a separate entity by a bigger crowd, much as the original "Star Wars" trilogy hasn't really been tainted by divisions over Episodes I and II.

It also takes too long in the final act to write itself out of its plot entanglements, and ends up looking rather too pleased with itself.

Aside from Rose Byrne's complex performance, there's nothing here that improves upon the original.

Morally dubious it may be, but this gory melange of torture, terror and darkly humorous depravity appeals to the sick puppy within us all.

A typically engaging performance from Johnny Lee Miller takes this slightly above the usual underdog movie cliche.

Plot holes and a mixed tone lessen the impact but Gordon-Levitt holds it together with a strong lead performance.

There's a Cronenbergian coldness to Olivier Assayas' corporate thriller.

Timeline takes the most ridiculous movie plot ever imagined and multiplies it by ten.

Bit of a mediocre drama from writer-director Assayas despite some good turns, not least from Nick Nolte and Beatrice Dalle.

Despite strong turns, it feels little more than an Egoyan lecture on Serious Stuff; lots to talk about, little to enjoy.