Carmen Gray

It’s as mad as a box of frogs, but a strain of melancholy romance adds emotional backbone to the gags, gore and kung fu.

Devoid of the ultra-violence so often associated with Korean cinema, Poetry is quiet and unhurried, making its portrait of social bleakness all the more impactful.

The sci-fi premise seems preposterous, but get beyond that and Gedeck’s predicament absorbs.

A timely, gut-wrenching but ultimately hopeful work.

Daniel Craig makes a decent fist of the narration. But you could also do without its gush about the “incredible journey” all beings on the planet share.

This blend of tongue-in-cheek exoticism and desire so strong it makes crocodiles melancholic amply rewards your patience.

Banking on exec-producer Refn's name, this glossy dealer-in-debt remake gets plenty right but lacks the hard-hitting vibe of the cult original, or a fresh take on gangster-pic London.

A fashion world Who's Who offer accolades, while Vreeland's vulnerabilities are revealed in interviews telling how, ridiculed by her socialite mother as ugly, she invented herself on her own terms.

Though self-referential to a fault, the deadpan humour, frayed logic and monochrome dazzle cast their own richly peculiar spell.

Showing a keen, compassionate eye for human observation, Özge reveals how each of his character's lives is as gridlocked as the cars on the bridge.