Search: Starring Alan

Zips along so fast that you don’t really have time to question the morality of it.

A bit like watching geniuses goofing around on acid. Or sewing the seeds of the future.

It’s a film you won’t want to look away from even when, narratively, it is threatening to collapse under its own weight.

It's a great experience for the actors to get into such meaningful and intelligent roles and for us to be thrilled by their hard work and great performances.

Michael Radford's film version of Orwell's masterpiece offers a faithful interpretation, but it is THX 1138 that captures the very essence of its stark warning against totalitarianism.

Overall, this is one of George Pal's most polished pieces of work.

Steeped in a sombre atmosphere

Tower Heist hangs on its fast pacing, its glossy look and the performances of the actors.

Mostly shot at close quarters, inside the Woodsman’s cabin or car or amid the trees, the film is heavy with shadows and mist and chill air.

The comedy is not funny, the action is exhausting, and by the time its 156 minutes are over, you too will have been transformed into a dead-eyed machine that has lost the power or will to care.

Serves as a reminder of a talent who despite some failures hasn't forgotten how to direct thrillers.

Despite this period being so rich in potential subject matter, this admittedly handsomely mounted, nimble and quite funny film chooses to take a pretty much conventional ride to a victory-lap finish.

The undersevens will love the characters and not search for deeper, darker meaning.

Emphasising texture over tension, Undertow plays like a mud-splattered Hansel and Gretel.

Takes a while to settle down into a comfortable, consistent tone, however, it's wonderfully unpredictable.

Watching it in the originally intended setting would be exceedingly cool.

Director Joel Schumacher is subdued.

A painstakingly curated trailer reel that pays affectionate if sometimes wry tribute to a bygone chapter in the history of genre cinema.

This movie demonstrates in nauseating detail how chefs garnish a dish with excreta and pubic hairs, because a customer has complained too loudly, and you watch them eat it and laugh till you're sick (or should that be the other way round?).

An intriguing and very personal film.

The problem is that this comes to resemble propaganda in itself.

Painfully unimaginative

The script by Ferguson and Luke Clancy moves with a spring in its step.

There have been bad films. There have been terrible films. And then there's Welcome To Me

Westworld goes to some very dark places even before the androids become dangerous, but it does so in a way that's easily overlooked by viewers who identify with the amicable heroes and enjoy the ride.

We Are What We Are deploys some well-defined horror tropes to dramatise much broader humanistic concerns about survival, continuity and love.

And while horror fans expecting gore and outrage may leave disappointed, those who like a decent ghost yarn and have a soft-spot for flares are in for a guilty pleasure.

The secret of Whicker's success is that he never allows his ego to get in the way. He asks the questions, then shuts up and listens.

The budget is low with no special effects but it boasts a gripping story, sincere acting, plot twists and beautiful cinematography.

The self-obsession he finds so enthralling is simply irritating, his delivery rarely varies from a monotone drawl, and he lacks any shred of what might be called charisma.

The tension is relentless and the effects awesome.

Helen Hunt looks more ravishing by the movie... Her acting is never lazy, nor lightweight.

Wish feels like one granted, a treat from start to finish.

Russell takes a full-tilt approach to bringing DH Lawrence’s novel alive on screen in all its earthy, sensual – and often ludicrously overblown – glory.

Kevin Bacon has never been better. His is a masterful central performance that deserves to be seen by as many people as possible.

The beauty of Wreck-It Ralph is that it makes no difference if you spot any of the references or love videogames, such is the vibrancy of the animation and the humour of the screenplay.

Taplitz is a real find, bringing depth to a character who doesn't get much room to express emotion given the film's dry, mannered style.

What's good about director Bryan Singer's approach is that he respects the material and so do the actors. There is not a whiff of parody.

Young Sherlock is a fine example of Chris Columbus' most sophisticated writing.

Emotion stains the walls of this period film like gutter waste.

This proved to be the only film that Day and Sinatra made together and judging by the great chemistry they have on screen, it is a crying shame.

A delicate balance is achieved here between telling the girls’ story, exploring the role which Marike’s religion and culture play in her life, and critiquing aspects of the way she is expected to live.

At once a noirish thriller, a social drama, a morality tale, a coming-of-age story and a compelling allegory of 'fortress' USA.

Zomblogalypse falls short of its potential, but its amiable brand of comedy still scores pretty well.

With its realistic Filipino backgrounds and its honest depictions of rounded Filipino bodies, this film...represents a milestone in the development of a national style of animation.

An affectionate, touching piece.