Guest critic Alexandra Heller-Nicholas takes a look at the online slasher film Unfriended, and traces its roots in found footage and "interface" horror cinema.

A delicate, magnificent study of transience and identity, with echoes of a ghost story.

I can’t tell if Joss Whedon actually set out to make this fragmented, dissonant symphony of banal sentiment, high irony and 360 degree warfare, or if he just broke down and gave up in the face of studio pressure.

The notion of clearly demarcated reality is not important to Piñeiro, his films repeat dialogue, they reference narrative works and are in turn influenced by these works. Like a hall of mirrors, they reflect the world in many co-existing layers.

This British production is sumptuously shot but relies heavily on the clichés of the wartime romance genre. That said, Swedish actress Alicia Vikander is wonderful in the lead role.

An image can make you want to both laugh and cry, but Baumbach’s film, as it progresses, makes you question whether you should be doing either.

This very American package of puritanical angst, sexual desire and slasher violence is in the spirit of the simple, sparse suburban horror classics of the late 70s and 80s.

MOMA curator and critic Dave Kehr discusses the perils and achievements of modern day film preservation.

The film’s limitations are that it mostly sits within Salgado’s own sense of himself, which is certainly not narrow or lacking in self awareness, but it means there are only glancing attempts to approach more contentious subject matter relevant to his life.

Mommy struggles with what you suspect is Dolan’s own difficulty in following through with the tensions he’s so masterfully conjured. But 'masterful' is nevertheless a word that applies.