A superior, haunting thriller of abduction, deception and ethical dilemma with a sobering ending - a moral quandary that demands strong debate outside the cinema.

An effective look at women's lives in a decidedly non-Hollywood setting.

Original, sad, suspenseful and involving: the kind of work that helps independent American cinema retain its good name.

Simply terrific, enormously watchable and an absolute must for all Eastwood fans. Gotta say it: this film will make your day.

Handsomely done and beautifully acted, just slightly wanting in a screenplay that leaves questions unanswered about what's behind these unhappy people. And it's ultra-depressing...

Adorable. Ad-or-able. It will melt even the coldest heart.

Think The Archers with a sprinkling of trendier folk and a lot more shagging. Very intelligently funny, with stellar performances.

A richer plot, life lessons and loving Chinese cultural references rendered by turns sweet, scary and charming, with yet more fantastical kung fu, make this an engaging winner. Stunning visuals make it real art as well.

Gentle, likable and profoundly touching, it makes you want to dig out the hiking boots and make the same journey.

Terrific. Michael Shannon delivers a fractured everyman who'll stay with you long after the final frame.

Exciting, ironic, with assured direction, accomplished performances and the tension of topical themes, this is Shakespeare as relevant as you like it.

Smart, honest, sickeningly funny and supremely well judged in the writing, direction and acting.

Very funny, it's also penetrating on the ravages of time on love and marriage and sweetly touching, but with abundantly incongruous randy content to heartily amuse.

Very sweet, very funny, really quite touching and exquisitely handmade, by a film lover with humour and a heart, for a like-minded audience.

A slow burner; intense, utterly engrossing and believable.

Much like Pakula's "Presumed Innocent", this is a solid and intelligent, if unspectacular adaptation, and just a tad tighter than The Firm to give it the edge that's needed.

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

Like a late ’60s satire played embarrassingly seriously.

Happily, Jamie Lee Curtis gurning through a guitar solo (she is Lady Spinal Tap, after all) while her floundering ‘mother’ mimes on stage is amusing.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

Dramatic disappointment aside, there is a feel for the unglamorous, demanding lives of the real dancers.

A film that is entertaining but not seriously absorbing.

Ryan and Broderick, while individually first-rate, don't combine as sexily as they ought, making the inevitable outcome a little too pat in an otherwise genre-bucking affair.

It's just like a spectacularly excessive and melodramatically daft Cantonese crime opus, but in English, with a thumpingly trendy soundtrack.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

His unique vision as a committed artist and unrepentantly crude joker makes this sweet, disarming, intelligent fun.

Not for anyone with a sensitive gag reflex. Joshua Marston provides a harrowing depiction of drug- muling for dummies. The raw, revolting, dangerous details of such an undertaking are graphic.