Marrit Ingman

It’s not perfect, but this big-screen debut of H.A. Rey’s lovable monkey is faithful to George’s gentle spirit while fully exploiting the possibilities of old-school, two-dimensional animation.

Every movie about the Holocaust should be this good, but few are. Heartbreaking and brutal, its tale of two boys training together at an elite school is as intimate and truthful to its characters as it is powerfully topical and politically brave.

Oscar Wilde’s Lady Windermere’s Fan is here set among Jazz Age expatriates cold-chillin’ on the Italian coast, and the result is not quite as dishy as one might hope.

Nanny McPhee is something of a rarity: a movie for children that is about children and their world.

Although long on style and concept, this film lacks the primal urgency of Shimizu’s 2003 J-horror blockbuster Ju-on.

Using a sleek visual style and bits of animation, this elegant Chinese film explores the effects of modernism, globalism, and international commerce upon its culture and society.

After being diagnosed with an incurable brain disease, a woman (who is played delightfully by Queen Latifah) discovers her moxie.

Hallström’s latest is fine but unambitious, content with what it is – an arthouse trifle with tricorner hats, corsets, and powdered wigs.

Fans of The Graduate should skip this strange comedy, which posits that the real-life inspiration for counterculture icon Benjamin Braddock grew up to be a cheesy, brainless high tech zillionaire doing yoga and driving a Mercedes around Half Moon Bay.

This unasked-for sequel fuses the original concept with the well-worn formula of the family-vacation romp.

This film is a passionate if clunky cri du coeur for the kidnapped and murdered women of Juarez, Mexico – a silent epidemic of as many as 450 crimes in the last 10 years.