Search: Starring Alan

Chow Yun-Fat is cool, charismatic and compelling, as always.

See it for Kinnear’s career-best performance and a few effective scenes and pithy lines.

The direction lacks any sense of realism, which is surprising from a man who made a career out of documentaries.

David O Russell, however, has turned a difficult subject into an irreverent road movie that runs away with itself.

This Emmy-winning fable of piety rewarded makes a virtue of its own simplicity.

The magnificence of a blue-tinged earth against the backdrop of opaque blackness, photographed from the moon’s orbit, is breathtaking.

The script is dangerously low on laughs and appears charmless

The animation is breathtaking and the characters are funny, charming and occasionally scary.

It's a particular treat to see some of the last interview material ever recorded by the late great Hunter S Thompson.

The film should be hilarious, but isn't.

Get Smart contains just enough laugh-out-loud moments to merit the price of a cinema ticket.

Shot with a fluid intimacy by cinematographer Baris Özbiçer, Oyay's film gathers momentum and an increasingly punk energy as it goes.

If Bress had kept things simple, this would have been workmanlike.

Arsalan really does have something special.

Great cast, great dialogue, great Baldwin cameo, great movie.

At heart (and it has a big one) there's a lot going for Gloria Bell.

Both Losey and Pinter are less interested in the romance itself than in the way its illicit nature exposes the class divide.

Where Goldeneye stands out is when it challenges the typical Bondian blueprint.

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

The film moves deftly between humour and poignancy, generating a strong emotional response in its quieter moments.

A highly watchable movie, with a protagonist to root for.

A film that's a bit hit and miss but that, at its best, provokes uproarious laughter, and succeeds in charming throughout.

Yates conjures up a succession of ‘follow-that’ face-offs which equal the opening salvo for edge-of-the-seat bravura.

Deserving of the hype.

The Order Of The Phoenix is the best in the series.

The concept is not without charm.

Gibson's courage captures criticism. He leaps at the role with such raw excitement that comparisons are superfluous.

This film basically consists of some worried looking people running about a bit and hoping that the bad things will all go away.

Is it familiarity that makes the heart grow fonder? Or magic?

If ever there was a critic-proof film, this is most certainly it - but, pleasingly, it's so good that it doesn't have to be.

For the first time in what has become known as The H P Experience, you feel genuine emotion.

No surprises. Nothing to write home about. And yet thoroughly entertaining.

It's such a pleasure to see a real children's film by a real filmmaker.

It stands out for its failings in a genre where there's some seriously tough competition.

A polished, handsomely produced piece of work delivered with real confidence.

While Framestore and Cadence have notionally brought the various creatures to 'life' they've not got that vital spark one would hope for.

Immortals could and should have been so much more.

An odd mix of affectionate satire and jarringly brutal slapstick, the former more successful than the latter except for when an unhinged Jim Carrey is on the prowl.

Taute favours real stunts over CGI and puts his team through their paces with some serious challenges, adding a certain frisson to the film which just doesn’t exist when only pixels are at stake.

As each of the Indiana Jones films has demonstrated, iconic talismans from the past can still conceal an awesome power.

The treatment of the subject matter is deeply irresponsible.

One of the best documentaries I’ve seen in a long time.

Damian’s visual treat of a film offers contemplation on ecological disaster, capitalism, and solitude, all within a story that could be described as a surreal anthology of images.

It's familiar stuff, but it's rarely been done with such polish and gusto.

A melancholic and gothic-inflected tale that is haunting in the best sense of word.

The picture is a claustrophobic, intimate jumble... The terrific sound design is instrumental as well.

Every time there is a gear change from ‘funny’ to ‘emotional’ it grates.

Jackboots On Whitehall isn't afraid of stomping on a few tender sensibilities and its smut level is set to 'stun'.

Although the story is slight, Cheng treats the subject matter with care, allowing a slow but certain heat to build between José and Luis.