Search: Starring Ako

A bit like a Kevin Smith version of Cloverfield, but in a good way.

Dazzles us with so many balls in the air, so many twists and turns, that there is not enough room left for his characters to develop as believable, interesting people, as opposed to comicbook archetypes.

To make a film that is touchingly beautiful at the same time as dealing with very bad things is a remarkable achievement.

The acting has an energy and conviction that demands respect.

Aengus James focuses on seemingly uninteresting moments, demythologising the cinematic imperative of searching for sensation.

Shelton does well to capture Alice’s aloofness which immediately draws you into the story, but after a while the one-dimensional elements of the writing isolate the spectator.

The unspoken thing developing between them is expressed through brief glances, and through the dances they perform together and apart.

Beautiful to look at, as well as anarchic and contemporary.

Asaad's performance is astonishing.

Stephanie Allynne and Tig Notaro are impressively attuned to the humanity of their characters.

De Niro and Crystal are terrific, none the less, and Harold Ramis directs with assurance.

Unutterably beautiful.

Although little of this is new, it's delivered with poise and grace, aided by finely tuned performances.

For those looking for monster on monster action, this isn't the best Gamera film, but it does have a couple of good battles.

Fedor Bonarchuk blends blockbuster stylings with a cultural critique which, he has said, he considers to have present day relevance far beyond Russia's borders.

It is Aurora herself who, unsurprisingly, provides the most poignant observations as she looks back at her life.

Full of passing vistas, moments of lyricism, raw sex and emotions – all building to a portrait of youths trying to bond together to survive.

McGregor's character paradoxically gets too much and not enough. Swede feels clogged with sentiment for his daughter, with little room for other emotions.

Simple messages, simply but warmly told.

There’s a slow-burning, stoical rebellion bubbling gently underneath the stillness of the surface for much of the film.

A thriller that, although it could have done with judicious editing at the beginning and end, nonetheless delivers laughs, shocks and, most importantly, that sense of satisfaction that only comes when puzzle pieces come together with a resounding click

Jacques Audiard's film isn't intended as a replacement for Toback's wild-eyed and masterly [Fingers], but rather a deliberately assured take on the same material.

The hand-drawn beauty of the images always connects to ideas, something grander that we have yet to find out about.

Season 4 proves to be difficult, absorbing, dark and of the highest quality of Scandi Crime.

Burning is not just a film about getting to the truth – it’s a film about the construction of truth.

The higher the emotions are supposed to be stacked, the less enjoyable and more obtuse the story becomes.

Richard Gere is exceptional.

As vital as it is virtual.

You have to care for these people to give a damn. That's hard.

The breaking of genre boundaries is surreal but one of many enjoyable elements of Black.

It's true what they say about violence. Too much and you become immune.

Mbong Amata's powerful performance anchors it.

Overall, East meets West with mutual respect, but this debut is still an uneven, mismatched effort.

Koolhoven wants all voyeurism of an exploitation flick while still expecting us to take his artistry seriously, and it's an unholy mix.

Unfortunately, realism doesn't always make for great cinema.

Seems to offer very little in the continuing battle to convince those who still need convincing.

Burnt by the Sun 2 plays fast and loose with both actual history and its own fictionally established facts in such a way that those familiar with Mikhalkov's original may struggle to fully embrace the director's most ambitious work to date.

Too cold and distanced.

What is astounding, is the restraint shown by director Gary Winick - nothing takes us from the quiet rural life of America in the Forties.

The reason all this earnestness works is because Raiff really cares about all his characters, taking time to consider each in their own right.

A testament to tolerance, forgiveness and the ability of the characters to overcome differences.

All this wholesomeness might sound cloying and unnatural, but director Yamada Naoko handles it with supreme confidence.

There really is only one person in the world who could play Conan, as sympathetic and brutal as he is, and Arnie definitely pulls it off.

Perfectly captures the eerie atmosphere of Neil Gaiman's much loved story.

"At the heart of the kingdom there is nothing," it says, but all the fascinating splendour that exists around that gap!

There's still that thrilling Basil Poledouris score and there's some great creature work by Carlo Rambaldi.