Mark Vegar

A disappointing film by Peter Weir. I can see the attraction of its setting and the clash of these two worlds, but its execution is lacking. It's only at the end do we see some scenes of pure cinema where words are sparse and images convey emotional power.

Riddled with plot holes and continuity errors, it spirals out into implausibility. Morally dubious film but there's no denying the craft and skill of the director at times. Since the antagonist is invisible, we don't see him commit the evil acts, but we do see the "heroine's" cunning plan and execution to end his life. The fact that this film works at all is testament to Elizabeth Moss.

The film is at its best in its quiet moments of reflection, that the intrusion of the predictable hollywood style violence is so unwelcome.

Best Bond film ever. The soundtrack perfectly complements the action and drives home the emotion of the excellent script.

I didn't mind De Niro's performance in "Casino". In "The Irishman", Joe Pesci's character is more subdued and reticent which is a good thing. De Niro gives nothing in his performance, the only emotion that he articulates is anger. The lack of emotion he shows as he goes about his "job" is disturbing. I don't know whether this is wholly a reflection of the character or an indictment of the actor himself.

At once disturbing and haunting, Johanssen gives an affecting performance, and the film has surprising twists and turns. Its hard to know what is documentary and real and what is filmed, Glazer uses hidden cameras and the effect is almost docudrama to distort fiction and reality. Glazer is a pioneer in blurring the lines between documentary and fiction film making in Under the Skin.

Watching on the big screen exposes flaws, some of the less successful visual effects shots and magnifies the slowness of the second act after the spectacular location filming in Finse, Norway until the turning point when feelings and emotions are heightened. This is where TESB is so successful in generating so much emotion and connection with the audience over the plight of the central characters. Take a bow Carrie Fisher.

Pure work of art showcasing masterly use of the close-up with a painterly touch breaking the conventions and narratives of cinema.

Who green-lighted this and thought anybody would want to watch boring conversations taking place in a kitchen?

A perfect study of an old man looking back on his life, as he experiences fears of the future and comfort from the past and present through dreams and nightmares. The viewer is also forced to evaluate what matters.