• Most of the film is silent, and the sound design accentuates every creak, whimper and breath. However, the melodramatic touches in the scenes depicting the relationship between the parents and the children prove to be jarring in an otherwise restrained and minimal narrative. Whenever an attempt is made to gaze deeper and uncover family secrets, the gaps in logic quickly become apparent.

  • What really works for Berlin Syndrome is Shortland’s ability to create atmosphere and her untypical handling of a familiar situation. The creepy tone is immersive and doesn’t allow audiences to ever feel truly comfortable, like a good horror story should.

  • …is a delirious ride. Fingers snap, bones crunch and the body count keeps ticking as Keanu Reeves gets to work.

  • The space part of the title barely works. But at least the between us moments do.

  • The minutiae of the fast food business is explained and then extolled. At times, the film resembles a deftly made piece of advertising, with an end scroll helpfully telling audiences that McDonald’s feeds 1% of the world’s population every day. The resemblance to a corporate video becomes complete when actual footage from the McDonald’s archives is used to depict the corporation’s global march.

  • ‘Passengers’ is an enjoyable sci-fi yarn but a creepy romance
    The chemistry between Chris Pratt and Jennifer Lawrence helps dilute the sinister overtones in Morten Tydlum’s movie.

  • With little new material to explore after eight films, the journey to the end point has become less and less interesting.

  • Chazelle directs the film with the movie-geek obsession of Quentin Tarantino and things could have easily gone wrong with an over reliance on callbacks to those classic films. But he is able to maintain enough distance from his influences to infuse the story with touches of realism that ground it while at the same time maintaining a sense of playful whimsy that made its forebears so successful.

  • ‘Moana’ is Disney with a difference…The directors behind ‘Aladdin’ and ‘The Little Mermaid’ explore Samoan culture for this musical adventure.

  • There is enough escapist entertainment, from well-staged battle sequences and signature British wit to explorations of Scamander’s never-ending suitcase (occasionally hampered by stodgy CGI), to make the film perfectly primed for the dreary times in which humanity finds itself.

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