Search: Starring Alan

Mendoza never lets your expectations, or your blood pressure, settle as the strange and isolated group face physical and existential threats.

'By concentrating on the bawdier Tales and disregarding their sequence, the director's interpretation obscures the way in which tales would engage in a dialogue with one another somewhat'

A masterclass in tension and character exploration.

It’s Drucker’s mesmerising performance that papers over the cracks.

[Casino] will dazzle and seduce you. The stand-out performance belongs to Stone.

It's an unbridled pleasure to see Bateman off the leash for once.

Remarkably adept in balancing audience sympathies and bold in its refusal to choose the most easily justified routes for its characters, The Charmer is a powerful piece of cinema.

While it's got some quirks it's relatively inoffensive, and if it feels like damning it with faint praise to say it's got nothing drastically wrong with it then fair enough.

A work of brilliance, painful as a punctured lung, fierce, uncompromised, operatic, sexual, startlingly beautiful and yet poisoned with evil.

Simplistic moral answers to the question of Christianity are like flags of convenience.

This ambitious feature debut is packed with interesting ideas.

The effect is a bit like being at a party where you can choose which conversation to tune in to.

You have no idea how enjoyable this is

The real comedic heart of the film is with the still-kicking Brit-veteran oldies.

Zam Salim breaks the rules with such bare-fisted confidence that you start wondering whether the rules were right in the first place.

If you're only vaguely familiar with the Damned, this documentary will leave you wondering where you've been all your life.

The main problem is its sheer laziness.

Scenes hold so long, you wonder whether the director is out to lunch.

This commitment to authenticity intertwines seamlessly with the transition from a passive character to one who finds their principles along the way.

A cool, classic and creative action picture.

Why should a story about two angels who have been hanging around Wisconsin for aeons, bored rigid, and wanting to go home, be understandable?

Pretty much everything about Michael S Ojeda’s film is by the book – right down to Chekov’s pregnant woman – but it rattles along fast enough to keep viewers from worrying about that too much.

The film's biggest disappointment is that it just isn't very scary.

For farce to work well, the plotting needs to be watertight, whereas here the sheer excess of characters fails entirely to cover up this film's flimsy underpinnings.

It is impossible to be down on the film when the many songs radiate such wit and style and keep the whole show rolling.

If some suspension of disbelief is required to accept the premise of Michael Mongillo's film, it's earned by Smith, whose troubled character is more sympathetic because he makes no effort to be liked.

The framing of some scenes is visually brilliant, whilst others are constructed in a way that makes no sense at all.

Making a band work isn’t easy when your mother gives you a strict curfew, your headmistress thinks punk is Satanic, and you don’t have any instruments.

By contrasting an artificial man with the real but unsubtly false men and women of the world and their queer existences, Burton presents satire with a dull thud.

Antonioni's film is the last of the three here, and is arguably the weakest, which is something of a disappointment because the disciples seem to have overshadowed the leader.

This is almost an hour longer than anything else Zhao has directed, and while her eye is keen there must surely have been a point where someone looked at a script and thought 'this is too much'.

An intriguing film, right up to the end.

Shot in ultra-closeup on occasion, confined, claustrophobic.

Despite the cheerful crudity of much of its humour, its jabs at middle class hypocrisy are often as subtle as they are pointed.

Incapable of breaking through the boobs and banter barrier.

Perez and Preston put in excellent performances

Courtroom drama dressed up to look like something more.

Tears will be shed as you watch.

A simple idea, beautifully executed

For me, and I suspect an entire generation, this is the definitive, almost faultless, take on one of English literature’s most powerful and evocative works.

Despite all the blood on screen, Fast Food Nation is a strangely anaemic movie.

Ferris Bueller's Day Off is a laugh-out-loud fest that makes you wonder how can kids be so intelligent and so stupid at the same time.

A creaky thriller with less suspense than Reese Witherspoon and an awards ceremony.

The limited time given to each of the short films means that there is little opportunity to get really down and dirty with the number-crunching, so that for every aspect that is fascinating there is an attendant frustration.

Collier has created a portrait of the festival that will delight its longstanding fans yet which is thorough and insightful enough to be of interest to outsiders too.