Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe is an interesting but flawed feature documentary that seems as concerned with righting a historical wrong as with probing the relationship between these two fascinating men.
Review by Sarah Cronin

Judex (1963) and Nuits Rouges (1973) - packaged together here - are both homages to Louis Feuillade, the French director of silent serials much loved by Buñuel and the surrealists.
Review by Paul Huckerby

Never has a bit of veil draped over a camera whilst shuffling towards a girl been so terrifying, or a pair of hobnailed boots more sinister.
Review by Oli Smith

The recent DVD release of Italian 70s exploitation movie Inglorious Bastards is not exclusively due to its artistic merits but also to the publicity given to the film by that cinema archaeologist, Quentin Tarantino, who is currently working on a remake.
Review by Celluloid Liberation Front

When Tsui Hark, Ringo Lam and Johnnie To – three heavy-weights of the Hong Kong film industry, who respectively gave us Once Upon a Time in China, City on Fire and Exiled – got together to make a film, it unsurprisingly became one of the most hotly anticipated titles.
Review by Joey Leung

Rarely seen but surprisingly influential, Dark City is a 1940s-style murder mystery set in an eerie futuristic city where it is perennially night and mysterious black-clad Strangers control the lives of the inhabitants. It has recently been released on DVD and Blu-ray disc in the form of a new ‘director’s cut’.
Review by Alex Fitch and Tom Humberstone

Somers Town, the latest feature from cult British director Shane Meadows, is the charming story of two 16-year-old boys who find friendship when they fall for the same French waitress. By why does it seem like one big advert for Eurostar?
Review by Alexander Pashby

Some films are virtually impossible not to like. Mika Ninagawa’s debut feature, Sakuran, based on the manga of the same name by Moyocco Anno, is an exuberant film with an infectious pop sensibility.
Review by Sarah Cronin

As is the case with Orson Welles, Terrence Malick’s first film is also his best. Indeed, the reclusive director’s 1973 masterpiece can justifiably make a claim to be one of the greatest debuts ever made: by turns frightening, funny and deeply beautiful, there’s very little else like it, as this new print from the BFI proves.
Review by Pat Long

Now that enough time has passed for movies about the World Trade Centre to be tinged with nostalgia rather than hysteria or pathos, the first post-post-9/11 movie is an intriguing docu-drama about high-wire walker Philippe Petit, who staged one of the most outrageous stunts in modern urban history.
Review by Alex Fitch