La La Land (2016) 

Joyous musical celebrates love and art, modern and traditional in approach and theme, as aspiring actress Emma Stone and jazz pianist Ryan Gosling's relationship is set against a gorgeously designed LA backdrop. Captivating score and songs culminating with an ending both moving and soaring.

Lady Bird (2017) 

Generously told, sharply detailed portrait of family life as curious Saoirse Ronan navigates final school year school and spars with controlling mother Laurie Metcalf. Vivid sense of community illuminated by warm performances, genial observation, and acute emotion.

Lady Hamilton (1941) 

Sumptuous production values and Miklós Rózsa's score sweep away the inadequacies of storytelling, especially since it needs to balance contemporary wartime propaganda. However, Vivien Leigh's luminous, passionate performance compels the eye and the heart.

The Lady Vanishes (1938) 

Beautifully realized comedy/thriller, brimming with detail that rewards repeat viewings and shot through with Hitchcock's devilish wit. Script and cast bring humanity to the narrative and enclosed train setting ramps up tension and fun. Genuine classic.

The Lake House (2006) 

A typically engaging Sandra Bullock and impassive Keanu Reeves communicate through a post box even though separated by three years. Mind and time bending illogicality diffuses emotion and character involvement, yet somehow pull off a suitably romantic finale.

The Last American Hero (1973) 

Brash driver Jeff Bridges uses skills honed evading police while delivering father's illegal whiskey to become a winning stock car racer. Lived-in, gritty feel accentuates sense of character with languid pace and blunt style. Story concerns remain in the background.

The Last Castle (2001) 

Sturdily entertaining without realizing any thematic or personal resonance as principled army major Robert Redford turns tables on corrupt military prison warden James Gandolfini. The psychological and claustrophobic pressure builds well, the action finale less authentic.

Last Christmas (2019) 

Despite Emilia Clarke's elfish energy and isolated moments of charm, synthetically manufactured tale of self-realization never rings true even within own strange logic and character stunt plot twist. Concept driven George Michael song celebration lacks emotion. 

The Last Full Measure (2019) 

Solidly if unsurprisingly structured, fine cast inhabits true story of heroism during bloody Vietnam War battle, exposing psychological wounds for survivors and political intrigue in suppressing events. Evocative Philip Klein score, moving conclusion.

The Last Letter From Your Lover (2021) 

Elegantly costumed and burnished with evocative, rich visuals, modern day, remote journalist Felicity Jones uncovers Shailene Woodley's illicit 60s romance and frustrated chance to escape. Always involving without piercing any emotional truths.

The Last Man On Earth (1964) 

Compromised by budgetary restrictions and bland storytelling, the widescreen visuals do occasionally offer eerie moments and the undead return of Vincent Price's wife is suitably unsettling. Vampire zombies should be more fun.

Last Night In Soho (2021) 

Gorgeously conceived visuals both celebrate giddy 1960s London fantasy and conjure cruel, degrading horrors, as nervy fashion student Thomasin McKenzie lives in the past through aspiring singer Anya Taylor-Joy. Sterling cast and technical flair undermined by messy narrative.

Last Passenger (2013) 

Breezy, tense fun that constrains a few stock characters on a runaway train across commuter belt England and tells the streamlined story with a sure sense of pacing and glossy visuals. Aided by an appealing cast, accelerating to a satisfying, explosive finale. 

The Last Seduction (1994) 

Linda Fiorentina's wonderfully cruel and savagely unrepentant turn drives the mechanics of a twisted and twisting narrative, using and disposing of men as she escapes with stolen drug money. Direction and script are stylishly straightforward, allowing its lead to shine.

Late Night (2019) 

Without pretending to redefine genre, smart script details character and builds humor through empathy and situation as jaded talk show pioneer Emma Thompson is revived professionally and personally by Mandy Kaling's hopeful comedy writer. Sometimes roughly hewn, biting modern concerns mesh with broad, rousing emotions.

Laura (1944) 

Controlled mystery, pierced with an elegant lyricism, as various obsessive men fall under spell of ambitious Gene Tierney. Suspicious detective Dana Andrews investigates Clifton Webb and Vincent Price, with surprises carefully revealed and David Raksin’s score gorgeously seductive.

Laura Gets A Cat (2017) 

Dana Brooke is persuasive and empathetic as a hopeful writer struggling with creativity and a direction in life, while director Michael Ferrell creates a loose, generous structure and some acute dialogue. A slight story, elevated by small, personal moments.

The Lazarus Effect (2015) 

Made with efficiency rather than inspiration, scientists create a serum to bring the dead back to life. Not unexpectedly, it doesn't turn out well. The attractive cast are unable to brin humanity to sketchy characters and narrative never builds tension.

Leave Her To Heaven (1944) 

Beautifully visualized and crafted genre mash up that gradually ensnares with its languid style contrasted with Gene Tierney's piercing intensity. The cool horror of the lake death is a perfect summation of fragile obsession splintered and lost to the depths.

Legado En Los Huesos (The Legacy Of The Bones) (2019) 

Slickly produced and designed, performed with intensity, yet without a compelling drive. Narrative and supernatural twists prove more confusing than surprising, though the flooded town is impressively handled as the heroine chases her murderous mother.

Legend Of The Lost (1957) 

Striking, richly textured visuals from Jack Cardiff make full use of the Sahara locations as grizzled John Wayne and hopeful Sophia Loren are stranded in the search for a lost city. Sedate pacing undermines adventure, though meandering scenes are not without interest.

The Leopard Man (1943) 

Creaky plot mechanics can't diminish the eerie beauty of the visuals or effectiveness of murder set pieces when a leopard escapes in small town New Mexico. The ultimate killer not really in doubt, desolate characters trapped in the desert provide added potency.

Lethal Weapon (1987) 

Increasingly preposterous action retains fresh energy tinged with dark character edge as suicidal maverick Mel Gibson and weary family man Danny Glover are mismatched cops on trail of mercenaries smuggling drugs. Casual humor adds appeal to kinetic polish.

Lethal Weapon 3 (1992) 

Weary Danny Glover has days until retirement so of course unhinged Mel Gibson will find trouble. No nonsense Rene Russo adds spark as principled internal affairs officer and production provides easy comedy and slick action. Plot and threat remain disposable.

Lethal Weapon 4 (1998) 

Pretense at character development and narrative cohesion jettisoned for domestic comedy and dual pregnancies interrupted by impressive, excessive action. Assassin Jet Li provides menace, Chris Rock and Joe Pesci deliver laughs. Few surprises as Mel Gibson and Danny Glover go through the motions.

Leviathan (1989) 

Despite a typically skilful Jerry Goldsmith score and strong cast, the flat narrative springs too many leaks, as deep sea miners are contaminated by a virus in Russian vodka and mutate into a monster. Technically potent, the setup promises more than the rehashed end product.

The Lie (2020) 

As net tightens on estranged parents Mireille Enos and Peter Sarsgaard when they try to hide daughter Joey King's involvement in disappearance of her best friend, widescreen compositions tend to deflate rather than elevate tension. Able cast left stranded by minor dramatics and late twist is unfortunately predictable.

Life After Beth (2014) 

Narrative and tonal confusion means fitful laughs and leaves a talented cast floundering as Aubrey Plaza rises from the grave and ushers in an apocalypse of the undead. The jagged rhythms undermine involvement, resulting in a flat atmosphere. Missed opportunity.

The Life And Death Of Colonel Blimp (1943) 

A veteran accountant at Rank Org bitterly told me that no Archers movie made a profit and wasted so much money. We should be thankful the creatives allowed Powell & Pressburger to make such a string of classics, including this thrilling, comic and moving epic.

Lifeforce (1985) 

Henry Mancini's grandiose, dynamic score elevates the compulsively trashy story of alien vampires wreaking havoc in London and Mathilda May sending men into deadly sexual frenzy. Deliriously batty sequences and VFX accentuate the lack of cohesion and pure sense of mischief. 

The Lifeguard (2013) 

Flailing Kristen Bell, disillusioned with New York journalism returns to small-town home and resets by taking up old teenage role at local swimming pool. Messy relationships with parents, friends and young lover never quite coalesce into persuasive character depth, despite intense central performance.

The Lighthouse (2019) 

Starkly captivating visuals bound with bracing sound design and score create deliciously off-kilter remote island for unrestrained Robert Pattinson to suffer psychotic snap along with grim Willem Dafoe. Trading in myth, an often thin line between violent absurdism and parody.

Like Dandelion Dust (2009) 

Earnest study of family dispute with an affluent couple finding life upturned when the blue-collar natural parents seek to get their son back. Nothing particularly original or stylistically engaging, performers shine within a solid narrative structure.

The Limehouse Golem (2016) 

Channeling Hammer Gothic and gruesome procedural, dogged detective Bill Nighy trails killer in Victoria London, Olivia Cooke is the music hall performer accused of poisoning suspect husband. Heavy on atmosphere, involving in detail, subdued in thrills.

The Lincoln Lawyer (2011) 

Initial story setup and character development prove intriguing, as confident defense attorney Matthew McConaughey dances round clients and cases. Fine cast, yet plot rapidly runs out of steam as it concentrates on wealthy Ryan Phillippe and family secrets.

Lionheart (1987) 

Jerry Goldsmith’s epic score, rousing and thematic, reaches for heart of what could have been as young knight Eric Stoltz seeks redemption leading children to safety in medieval France. Muddled storytelling and awkward staging allied to unfocused characters, with expansive visuals only emphasizing unfulfilled end result.

Liteul poleseuteu (Little Forest) (2018) 

Told with quiet charm, disillusioned Kim Tae-ri abandons city for rural home, suffused with memories of her mother and sparring with old friends. Sedately pace, relearning nature and cooking with seductive visuals resolves with tender emotion.

A Little Help (2010) 

A convincing, relatable Jenna Fischer feels life spinning out after deceitful husband Chris O'Donnell dies and family and societal criticism squeezes in. The story tends to trowel on misfortune, leavened by caustic humor as she gradually emerges from the shadows.

Little Pink House (2018) 

Based on the 2005 Supreme Court ruling about eminent domain, a convincing Catherine Keener is the solitary voice trying to keep her home from federal destruction. Though tone wavers between character study and vital docu-drama, an always absorbing tale.

Little Women (2019) 

Intuitive adaptation reframes Saoirse Ronan's conviction to be a 19th century author with contemporary concerns and creativity, a fresh view without losing emotional heart of sisters and family. Design and color schemes create evocative settings, playfulness and melancholy well balanced.

Live By Night (2016) 

Handsomely mounted, a robust cast brings drama to individual scenes yet can't enliven a bland, unevenly spun narrative that sees haunted Ben Affleck lumber through blood-soaked streets of Boston and bleached Prohibition Florida. Despite ferocious gunplay, fumbles for emotional reach.

Lloyd's Of London (1936) 

The stiff history of naval insurance becomes a rousing historical adventure featuring Nelson and the Battle Of Trafalgar as well as passionate love story between Tyrone Power and Madeleine Carroll. Not remotely believable, gorgeously mounted melodrama. 

The Lodger (1944) 

Waves of fog swirl across richly textured sound stages, as Victorian London is terrorized by the Ripper. Laird Cregar is a powerful presence as the atmospherically lit and framed story largely jettisons psychology and character for propulsive sequences and features two energetic dance numbers.

The Long Goodbye (1973) 

Wearied, principled Elliott Gould shabbily inhabits dogged detective Philip Marlowe whose search to prove dead friend's innocence dovetails noir fatalism and 70s cynicism with absurdist humor and edgy menace. Fluid visuals and fine cast pave way to earn uncompromising end.

The Long Haul (1957) 

Making solid use of gritty, low-budget locations, tight staging elevates crude characterization with broken Victor Mature dragged into crooked truck operations in post-war Britain. Disillusioned Diana Dors provides acute emotions all the way to satisfyingly bleak conclusion.

The Long Kiss Goodnight (1996) 

Fast jettisoning any form of credibility and progressing through series of violent action set pieces, genial housewife Geena Davis discovers true identity as ruthless assassin. Little tension, endless one-liners, swiftly paced thrills feature gutsy cast and big explosions.

Long Weekend (2020) 

Low-key romance relies on charm of suffering Finn Wittrock and spontaneous Zoe Chao, who is either just as psychologically damaged or may be a visitor from the future. Loose aesthetics focus on emotion to paper over logic, with pleasing rather than transporting resolve.

Looker (1981) 

Intriguing ideas on societal concepts of beauty and consumerist manipulation entwined with futuristic technology undone by muddled style and confused storytelling. Suspicious plastic surgeon Albert Finney and model Susan Dey infiltrate shifty James Coburn’s mysterious corporation with diminishing suspense.

Looper (2012) 

Fluidly told, richly detailed, an enormously enjoyable time travel conundrum as intense hitman Joseph Gordon-Levitt must deal with killing older self, Bruce Willis, and untangle the future of gritty Emily Blunt and her son. Propulsive action, confounding logic, darkly satisfying.

The Looters (1955) 

Rugged locations and gritty performances not helped by lumbering structure and bland characterisation as greed consumes plane crash survivors and their rescuers with discovery of stolen cash. Potent themes, including bitter Julie Adams' refusal to be exploited, add texture before unsurprising end. 

Lore (2012) 

Unflinching, composed, lyrical, a sorrowful and awakening journey for indoctrinated teen Saskia Rosendahl and her siblings as they journey across the brutal remnants of Nazi Germany. Pain and artistry burn through images and narrative that reach beyond prejudice for compassion.

The Lost City (2022) 

Adventure comedy throwback throws disillusioned romantic novelist Sandra Bullock and uncomplicated model Channing Tatum into quest for ancient relic, dodging billionaire Daniel Radcliff's bullets on volcano threatened island. Anonymously enjoyable, misses genuine spirit.

The Lost Daughter (2021) 

Strong performances and visuals illuminate strains of motherhood, as spiky Olivia Coleman remembers younger ambitious self Jessie Buckley after she meets brittle Dakota Johnson and daughter in Greece. Edgy tension tends to dissipate, purposely unresolved.

Lost Girls (2016) 

Natural intensity is brought to intimately drawn anguish as Amy Ryan fights social and institutional prejudice and incompetence to search for her missing daughter. True-life unresolved case doesn't diminish family tension and drama pays off with cathartic emotions.

Love And Monsters (2020) 

A sure blend of comedy and action courses through this unexpected pleasure as a self-deprecating Dylan O'Brien journeys through a landscape of giant insects to reach his idealized love. Visuals are colorful, rhythm breezy, monsters diverting throwbacks.

Love At First Sight (2023) 

Within confines of artificially confected London locations and archly conceived supporting characters, unremarkably quirky romance remains accessible through engaging honesty of drifting Haley Lu Richardson. 24-hour relationship with hurt Ben Hardy is tidily enjoyable.

Love, Cheat & Steal (1993) 

Violent Eric Roberts breaks out of jail, determined to take revenge on duplicitous wife Mädchen Amick, until deciding to also rob new husband John Lithgow's bank. Scope for dark thrills involving corrupt characters squandered, lacking style and signposting twists.

Love Is A Gun (1994) 

Sold as a steamy thriller, Eric Roberts' twitchy crime scene photographer is in a fractious relationship with Eliza Roberts even as he obsesses over unbalanced Kelly Preston. Murder and madness ensues. Tone and marital breakdowns veer more to black and absurdist comedy.

Love Story (1944) 

Though set in contemporary wartime, the intensity and emotion mirrors other Gainsborough melodramas as characters battle tragedy and loss to live the day. Involving performances from Lockwood, Granger and Roc as well perennial Cornish Rhapsody still engage today.

Lovelace (2013) 

While design and spirit tangibly conjure 1970s, and initial comic edge contrasts with sleazy Peter Sarsgaard's cruel manipulation of Amanda Seyfried's era-defining porn star, approach lacks character and thematic clarity. Committed leads and fine support without final resonance.

Lucía y el sexo (Sex and Lucía) (2001) 

Intense, fragmentary, shot through with artistry and desire, and truly living up to its title, an ultimately moving mosaic of female relationships with a writer. Formidable Paz Vega, Tristán Ulloa & Elena Anaya blend reality and imagination.

Lucky Them (2014) 

Toni Collette is an amiably cynical and wearied music journalist and muse who manages to rope in eccentric Thomas Hayden Church in the search for an ex-boyfriend and influential rocker who disappeared presumed dead. A shaggy tale told with quirky charm and humor.

Lulu femme nue (Lulu) (2013) 

Failed job interview prompts withdrawn Karin Viard to take break from mundane home life and a chance with lonely Claude Gensac, put down Nina Meurisse and floundering Bouli Lanners. Understated naturalism, appealingly performed, sensitively resolved.

Lunana A Yak In The Classroom (2019) 

Captivating, simply told tale luxuriates in broad landscapes at once hostile and beguiling, as aspiring musician Sherab Dorji is sent to remote mountain village as teacher and finds initial antipathy melting away. Effectively detailed emotions.