Frozen is a short and sweet thriller gimmick from Hatchet director Adam Green in which three college friends get stranded on a ski lift late on a Sunday night. It’s a taught and un-complex set up but one which digs its heels in once the trio are stuck allowing the simplistic nature of the tension (and the howling from the woods) work it’s own magic…

Rafi Pitts film three feature films have headed out into the world relatively unnoticed, garnering circles of intense critical praise for their mood and beauty but the Iranian director has set his sights on making far more of a splash with The Hunter…

Jee-woon Kim’s ever present obsession with revenge and redemption took a bit of a holiday in the sun with his last effort, the completely off the wall The Good, The Bad, The Weird. It returns full force and darker than ever in the long and brutal I Saw the Devil.

Richard Ayoade’s darkly funny, rich and technically faultless debut film has been causing quite a stir since it’s beautiful trailer started floating about online. How could Moss from the IT Crowd be into Francois Truffaut, Hal Ashby, Wes Anderson and Lois Malle? 

Guillaume Canet’s Little White Lies is an odd ensemble film. It takes great pride and time in presenting it’s many characters in a myriad of unlikeable ways and asks you to come on holiday with them all to a beach house after the near death of a close friend… and care about them…

Watching the hobo of Jason Eisener’s wonderfully titled grindhouse homage roll into Scumtown is a massive guilty pleasure for any action film fan. Rutger Hauer is the hobo in question; Deciding he’s had enough of the violence against the downtrodden in this mildly apocalyptic world…

Barbara Kopple’s wonderful Harlan County, USA gallantly documents the battle of a group of coal miners and their struggling families against the Brookside Mine and Prep Plant in Harlan County, Kentucky in 1973. Grittily, candidly and deftly shot by Kopple and her team the film holds up amazingly well today and shows just how lazy we’ve gotten in documentary film making...

In essence The Tree of Life could be described as a montage of nearly wordless childhood memories of a boy named Jack (Sean Penn) reminiscing over his lost brother and a nearly forgotten family. About life, death, birth and, in the films wildest and talked about sequence, the beginning of the universe…

Duncan Jones’ second film as director is that now seemingly necessary push in to a more mainstream script and plot which is ultimately the downfall of a film which leans too heavily on it’s twitchy premise.

Sure, Matthew Vaughn’s glossy and fun Kick Ass got there first but there’s something seriously twisted and blackly funny about most of James Gunn’s Super. It’s wildly uneven, hideously gory and is generally all over the road…

Attenberg (a mispronunciation of our very own Sir David’s name) is a real oddball of a film. It’s essentially a tale of a sexually ambivalent and naive young woman, Mariana (A captivating Ariane Labed) giving into her growing urges as her father dies. It aims for awkwardness over shock value and more often than not, hits its mark…

The Hesher in question is this odd little film’s heavy metal loving, morally skewed sociopathic title character (Joseph Gordon-Levitt), though its difficult to see why. The crux of the film is in fact firmly upon the young T.J (Devin Bonchu) who is grieving the loss of his mother and drifting away from his father (Rainn Wilson) and grandmother (Piper Laurie)…

Woody Allen’s latest harks back to the prolific legend’s more fantastical fare of the mid 1980’s by putting Owen Wilson in 1940’s Paris, wandering the streets and night clubs with Ernest Hemmingway, F. Scott Fitzgerald and Pablo Picasso to name but a few…

Juan Carlos Fresnadillo’s third horror film in 10 years sadly veers further away from his interesting, promising and cool debut Intacto than the mainstream, stylish but ultimately hollow 28 Weeks Later did…

“Kevin Smith’s style? He’s has no style, but that’s kind of his style.” After 10 years of trudging though some watchable but empty messes (Jay and Silent Bob Stirke Back) some complete piles of ooopsy (Jersey Girl) and a totally misjudged sequel (Clerks II) Smith has decided to pull a thorn from his side which has always kind of bugged him and put it on full, dangerous display…

Tom McCarthy’s third film after the near perfect The Station Agent and the horribly under appreciated The Visitor is the loveable but not quite brilliant Win Win…

Von Trier’s apocalyptic, deeply sad and beautifully acted opera of depression begins with Wagner trumpeting over some seriously staggering images. A black, riderless horse lays down in a field below the green swish of the northern lights, Charlotte Gainsbourg carries her child through the muddy green of a golf course and Kirsten Dunst watches electricity leap from her fingers into a grey sky. Then a giant blue planet crashes into earth…

Cancer and comedy make for odd bedfellows in Will Reiser’s own true script about a young radio producer dealing with a rare form of the disease and the reactions of his friends and family…

Lynne Ramsay (Ratcatcher, Movern Callar) returns after 10 years out of the film making world with what might turn out to be one of the greatest modern horror films ever made. A terrifyingly tense and measured version of Lionel Shriver’s infamous novel of the same name concerning a mother’s transferred redemption of her own life…

Michel Hazanavicius’ sweet, simple and affecting little piece of work has been lauded and gushed over since it’s awards season run, making many best lists before the year was out…