Search: Starring Alan

This is a feminist film in every sense of the word.

This film is one of the most rounded of any of Godard’s work and can easily be viewed as ‘mainstream’ – the more philosophical riddles being purely optional.

The past and present are linked with only limited success.

This is very much an actors' film and the two leads are both on superb form.

This is prime Ford, a perfect example of his understated humanity.

McLeod teases out the tale as we see how much of this has exited the realm of fact and entered the realm of collective myth and storytelling in the years that have passed.

That this film is awful is probably its saving grace.

The hand-coloured drawings are exquisite, and who could fail to warm to the charms of these loveable nutters who want all the right things for the world?

The director Mark Pellington uses infuriating camera tricks - out-of-focus slow motion, etc - and a deeply unsubtle musical score to heighten the suspense.

My Accomplice is an enjoyable little story that bimbles along quite pleasantly and leaves one generally pleased for having watched it.

Only in France can a film of such delicate sensibility be made

The uncompromising nature of Carnahan's approach, with its full-on confrontational style, is contained by an absolute conviction and a refusal to cheat for sensation's sake.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

The director does not put his name on the film. The script is by Fraser Coull. Let’s blame him.

Night People is well made, beautifully shot and adequately acted.

This movie has such heart and soul that it remains a true children’s classic.

If Kaadan doesn't quite get the dramatic weight to land solidly, she nevertheless has a fine eye for a poetic image.

Simple in structure, with a series of interviews supported by clips of film, the documentary finds its power in the accumulation of ideas across its running time.

At more than two hours long, it's a shame Beckett wasn't on hand to offer a bit of advice on the importance of distillation, although there is plenty here to enjoy.

A film which will remind its viewers why they fell in love with cinema in the first place.

It’s a tremendously challenging role, in which Maadi excels.

A real slam dunk.

An impossibly-charming rom-com that’ll win you over if you give it a chance.

For all its bombast – the thwacks, the thuds, the slowed-down bang of a gunshot – one never really believes these guys are in trouble.

As a first film, from a standing start, Pasty Faces has many qualities. Baker writes sharp dialogue, McCafferty has comic potential, Cross is solid.

There are some superb bits of camerawork used to communicate Grenouille's experience of the world of scents, though unfortunately, having begun to express itself this way, the film doesn't have quite enough to go round.

This will have even the bitterest viewer sobbing into their popcorn.

Galán is extraordinary as the traumatised girl in a performance which requires a considerable amount of courage.

All art is, by it's very nature, indulgent but this 70-minute suffocatingly dull tone poem is SO indulgent it's akin to masturbating furiously in public.

There's not a huge amount here that's likely to be new to people with a sustained interest in these issues, but what Nelson does well is to demonstrate the vast scale of the problem and the urgency of implementing solutions.

The film unfolds like a religious parable, illustrating how easy it is to become corrupted when single-mindedly pursuing a goal.

Wry, funny and emotionally-charged.

There are too many fight scenes scattered throughout, and each really could have done with pruning in the editing room.

A strangely old-fashioned affair.

Robots has a glittering voice cast and astonishing CGI animation and yet is over endowed with too much of this, too much of that and too much of everything.

Whatever expectations are carried in are brought to a stop, hard.

Hitchcock brilliantly builds suspense scene after scene.

By opening up his story Hood may reach a wider audience and this is a subject which certainly cries out for more attention.

Arkin fully inhabits the role, never once falling prey to the self-consciousness which is the downfall of many a film of this type.

This is romance the way grandma remembers it.

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

Despite some obvious cheese and more than a few slices of ham, this is popcorn of the best kind.

The anonymity of the landscape adds to the sense of alienation from normal landmarks, physical and metaphorical, that often accompanies war.

Somewhere in this trauma of a stage adaptation are some valid points about Fifties US conservatism.

Still packs a hefty punch, due to its tacit understanding of the political dynamics.

Not explosive action, but smouldering intrigue and skulduggery, with very little outdoor camera work, and much more enthralling as a result.

Newcomers Cobos and Buzzurro both acquit themselves admirably given that they effectively have to carry the film with no prior experience.

That's not beer in the Marky Mark fridge, it's testosterone. And he's going to share it with you.

As an example of comic ideas going to waste, Aussie actor John Polson's directorial debut is a good one.

The film is full of fine performances, but 90-year-old Esther Gorintin, as Eka, is quite outstanding.