Search: Starring Alex

The team’s eye for a good sight gag and ear for an unwittingly crass pronouncement remains intact, as does their intimate knowledge of, and obvious affection for, the movies they’re sending up.

The less you see, the more you believe. Chilean born writer/director Alejandro Amenabar, who is still in his twenties, knows this.

This documentary might sound like a bit of fluff, but it delivers some surprisingly profound stories.

A jarringly odd mix of dull and disturbing that comes with its own quasi-religious frisson for a jaded age.

All told, a case of move along, nothing to see here.

The film feels top-heavy and overlong, but that's not to say that there isn't a lot of powerful work in there.

This film, like it's central character is wilfully complex and surprisingly fluid, wrong-footing us as we try to fill in the spaces between each vignette at the same time as drawing us to its thriller component.

The personal story is recounted against a cityscape that leaves bare the warmth of human kindness.

There is a great story in here somewhere.. but the combination of the two narratives - presented as tonally and visually distinct from one another - does not entirely work.

An ambitious but flawed story about an estate kid turned football pro that disappears between the two world it wants to depict.

This is an entertaining time passer which should keep the kids happy.

The action sequences are reasonably handled - although shelling out for the 3D unecessary - but there's nothing here that most kids won't have seen before and it lacks the emotional bite of franchises such as Harry Potter.

A college fanzine rub that doesn't leave a mark on your conciousness.

Berlanga excels at the chaos of everyday life - the messiness of human interactions and the way in which lives randomly interconnect.

This is a police procedural, but it's also about the nature of policing, about the gap between law and justice, the self and the state.

The languid mood contrasts with the most dangerous topics.

A masterpiece of accomplishment.

The series is largely shot from a static perspective using framing and composition to imply movement, much in the same way as would be done in a comic or graphic novel.

The role is a gift for Negga, who has always evinced considerable talent but has not previously had the chance to demonstrate her abilities to this extent.

Cage fills the screen even when he does not.

The constant contrast is the trick, which later extends to the emotional stakes.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

Shot in lush, vivid black and white, the film carries a sense of age and expectation.

Violence is always lurking at the edge of the narrative.

Jonathjan Ajayi is superb.

Merricoffer's performance will keep you rivetted.

The ladies act their socks off. To no avail. The plot saws itself in half... forever.

Independently produced on a budget of just £16,000, it’s really an astonishing achievement.

Ultimately too ambitious for its own good, Presence nevertheless showcases some interesting work.

There’s a lot of culture clash comedy here but the film doesn’t hinge on it. More important is the way that Lindsay and Jack find themselves culturally overwhelmed.

Resisting familiar narrative routes, Dionne Edwards’ film gets up close and personal with a family in a state of flux.

I didn't go in with high expectations but I was thrilled.

Heineman’s docu-style fits perfectly into the look and sound of things.

Brilliantly written and constructed.

The characters work well...but there’s never quite enough energy to events.

Push looks magnificent throughout, and yet at a structural level, it’s rather ordinary.

Compared to modern American rom-coms, Pretty Woman has integrity, style and restraint. As a result, it feels in a different class.

Cone's characters are fresh and real.

The whole affair is a dishevelled mess, with no linear narrative, no cohesion in the script or characters, and a revolting grimy looking film which drowns in its own cadaverous undercurrents.

One of the most unique shows ever imagined.

In short: lad fantasy.

Director Parker excels at misdirection but risks losing audience interest in the process.

What a shame that those aiming to cash in on the cute mutt's charms with this low-rent film didn't look for a better script.

This is not a film made with the expectation of a polished result.

The design of the film is straightforward and yet cleverly skewed.

A few contrived moments, such as the metaphorical stag the Queen spots on her estate, only marginally detract from what is otherwise a fascinating drama on previously uncharted cinematic territory.

The biggest kick up the cinematic arse you're likely to get this year.

It has all the cringe-making laughs one might expect from a comedy of celebrity, but Rats And Cats also achieves a surprising subtlety.

Anna Politkovskaya...emerges as a truly heroic figure and the rage Nekrasov feels at anyone who could consider taking her life to be a justifiable ‘means to an end’ is palpable.

For an erotic thriller it's pretty short on both thrills and eroticism.