Search: Starring Ako

So while a difficult, challenging experience - both emotionally and cerebrally - this is a masterful, endlessly intriguing piece.

This is a thought provoking film that teases one’s perception of behaviour with frustrating persistence

Certainly a film for art house audiences, but also a nice first time introduction to Danish cinema that is bold and confident.

Each successive scene hits you over the head with the ferocity of the action.

Dramatically powerful and thematically challenging, this is a remarkably impressive feature début.

An entertaining slice of ludicrously over-powered martial action with some broad comedy too.

The story is told without frills and if you find yourself choking with emotion practically all the way through, it doesn't feel faked.

Dying is full of glorious contradictions, many of which occur within the same conversation

A corking action film.

Daniel's music is heard throughout, adding immeasurable depth to his story.

The odyssey of Downey and Galifianakis is composed of far too many sharp edges and far too little warmth.

An unrelentingly emotionally tense and harrowing experience from start to finish... one of the most accomplished short films I have seen this year.

This is a talky affair designed to move away from the original BBC six-parter's cold-war paranoia in favour of a Michael Clayton-style corporate cover up.

A beautifully rendered film with oodles of character.

It’s great to see comedy set against dark subject matter, but here the balancing act often falters.

So badly produced that it fails to generate any reaction at all.

As in the Hitchcock classic, the supporting characters help to balance the film and substantiate its themes, all the while implicating viewers in Henry's voyeurism.

Eisenstein is embodied by the fabulous Elmer Bäck, who gallops at the role in the way Liberace might have plunged into a haberdashers.

Skop has made documentaries in the past and he and Vásáryová are alive to small gestures.

What makes this film so much more than a thriller is the very terrible human emotional territory it dares to venture in.

There's a dozen reasonable ideas, none of which are developed into fruition.

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

A simple idea, beautifully executed

With its emphasis on female nudity, this may be cinema more for the devoted voyeur than the casual viewer - but at the same time it puts the male gaze in its place.

It is, of course, Mullan’s film. He brings gravitas and emotional complexity to a story which could easily have collapsed otherwise.

Golubovic wants us to feel the weight of all this, and we certainly do, as cinematographer Aleksandar Ilic not only captures the countryside of Serbia but also a sense of dilapidation.

Fifty Shades is romcom without much com: an old-fashioned soft porn flick designed to appeal to women “of a certain age” (and younger).

What Sigríður, Markus Englmair, and Ugla have done as writers and writer/director is hang a disaster movie on top of a family drama. That is what makes the film compelling.

The film is interesting in its use of visual effects, with layered images used in transitions and also to communicate dream-like states.

Fifty Shades is rapidly becoming a modern erotic version of Dallas.

There is plenty of intriguing historical backdrop to this story, and Chadwick manages to incorporate much of it without losing focus on the very personal subject at the film's centre.

Fish Story may at first seem almost aleatoric in its structure, but this punkish chronicle of hope enduring in extremis and heroism paid forward turns out to be much more than a mere shaggy dog story.

The problem isn’t that we seen it all before – it’s that we’ve seen it all done better. Much better.

While there is no doubting the admirable intentions of Vercoe's idea, the end result feels far too focused on her response to what happened than on the more universal impact of the events themselves.

This is an ensemble performance in the psychopathology of feeling over-dramatically sorry for oneself.

Fukada, who trusts in our ability to figure things out eventually...sprinkles clues and riddles throughout his account of the human condition in the 21st century.

Illusions are everywhere in this film.

Easily the most imaginative, energetic and engaging children's film to hit cinemas this Christmas.

Too much of this fascinating material was subordinated to the question of what to call them, to the point where the director's insistence on that single question started to get in the way.

Wilson's background is in commercials and he's well suited to a script which is all about narrative economy.

This isn’t a big showdown in the style of recent superhero movies, but something far more organic and joyously deranged.

Well-written dialogue, strong acting all round and unobtrusive but taut direction give it real strength.

The director's trademark vivid cinematography and willingness to explore extremes in tone and content are present and correct here and make Guilty Of Romance as much a frustrating and intensely riveting viewing experience as his other creations.

The direction and writing may show signs of first-time work but Karanovic's fearless performance is one of an actress right on the top of her game that smooths over the cracks in plausibility and holds you hard in its gaze.

Matsuda is excellent in the demanding central role.

Trying to terrify you with nothing more than a wig knocks any serious attempt at the frighteners out the window.

Despite genuinely scary moments, The Grudge 2 suffers from massive overkill and a plot that runs away with itself.

There’s plenty of the pre-requisite tension, and the monsters are designed well and deployed with restraint.

Mostly excellent.