MOVIE OF THE WEEK: The follow-up to Before Sunrise, Before Sunset retains most of what was engaging about the first movie: it has its gentleness, its romanticism and, most importantly, its idealism. Peter Bradshaw reminisces and reviews.

Touching the Void enlarges the sense of what a documentary can achieve, writes Peter Bradshaw. It leaves the audience on the edge of its seats, lips parted, knuckles whitened.

NOT QUITE MOVIE OF THE WEEK: Bright Young Things successfully carries off the hedonism of the pre-war era of Europe’s high societé, but the film is fails to deliver the same contemplative satire and darkness of its predecessors. Peter Bradshaw reviews.

Round three at Hogwarts offers rather too much of the same old thing, writes Peter Bradshaw. Alfonso Cuarón’s treatment of Harry Potter, Hermione Granger and Ron Weasley has nothing more daring than allowing them to say ”bloody” without getting a clip round the ear.

MOVIE OF THE WEEK: The second part of Kill Bill, Quentin Tarantino’s pulp-guignol shocker, is destined to see Uma Thurman fully assume the mantle of warrior queen and martial-arts mom, writes Peter Bradshaw. Once again, Tarantino has seen off the imitators, detractors and condescenders.

MOVIE OF THE WEEK: Now it is the turn of Colin Firth, playing a stubbled, romantic-looking Johannes Vermeer, in the speculative imagining of the 17th-century Dutch artist’s relationship with his unknown model, the film Girl with a Pearl Earring, to be captivated by the bloom of Scarlet Johansson’s untouched loveliness, writes Peter Bradshaw.

MOVIE OF THE WEEK: Richard Linklater’s School of Rocks strikes just the right chord. Jack Black in the lead as the music class school teacher expands on the musical comedy he developed in his satirical heavy metal band, Tenacious D, of High Fidelity. Peter Bradshaw reviews.

MOVIE OF THE WEEK: David Mackenzie’s new film, Young Adam, is based on the novel of sinister and transient bohemianism by the all-but-forgotten Scottish beat author Alexander Trocchi, and it is a conspicuously more mature piece of work, writes Peter Bradshaw.

MOVIE OF THE WEEK: ”After one single viewing of Kill Bill Volume I — Quentin Tarantino’s first movie for six years — I felt like the director himself had cacklingly jammed his hypodermic into my throbbing arm.” Our critics disagree: Is Quentin Tarantino’s new, much-hyped movie, Kill Bill Volume I, deliriously thrilling or deadly boring, asks Peter Bradshaw.