Search: Starring Alex

An angry powder-keg of a film, exploding the reactionary myth that under certain circumstances torture can be acceptable, serviceable or even necessary.

There's enormous potential here, with solid performances from the young actors, especially newcomer Alexander.

Tekkonkinkreet is beautiful, and ably uses its visual appeal in service of an exciting fable.

If all you want is a whimsical story about relationships then you'll probably enjoy this without looking any deeper.

Often a rollicking good time in spite of itself.

It may look and, even on family terms, feel nostalgic but Lazarescu makes sure we're aware of the tough choices facing her characters.

It's a tale of subterfuge, high speed pursuits, 'erotic' adventures and fighting - but mostly fighting.

A manipulative weepie positioned for Oscar consideration.

The story falls apart when it comes to the denouement, which is somewhat confused and doesn't really deliver a satisfactory punchline.

The film looks terrific and is beautifully paced by the Cornuau brothers.

Alexander Alexandrov's grimy cinematography shows us the dirt and the grit we have come to associate with working class Americans going off the rails, and applies it to well cared for suburban homes and cityscapes usually pictured as glamorous.

No more than fleetingly touching, rather than achingly romantic.

It is Dunham's fearlessness in showing Aura warts and all that becomes endearing.

Intense, intriguing, beautifully framed and intellectually challenging.

While this premise could have worked well, it doesn’t – mainly because you couldn’t care less what happens to the whole horrible bunch.

Through disguises, Plumb deconstructs societal expectations and performs a few answers to Sigmund Freud's famous question 'What does a woman want?'

A Town Called Panic is a truly postmodern concoction, where, along with the village's properties, narrative norms are deconstructed brick by brick, as free associations and visual gags come thick and fast, offering a surreal jaunt through toy town.

A strong debut from such a young creative talent, the film skips with ease between the lyrical and the mundane.

Loud, colourful, facetious and painstakingly shallow, Tragedy Girls perfectly captures the high school movie vibe.

The landscape plays a major role in this movie, with its bleak, open spaces, adding to the feeling that the characters and their emotions are curiously incidental.

Miklos is superb in the role of Anisio, striking a balance between menace and swagger, which gives him a comedic air.

Slaboshpytskiy goes to show, first through Anna and then the actions of Sergey that some transactions can hold a lot more - and worse - than we have bargained for.

If nastiness was a flower, Trouble Every Day would be a bunch.

Gay challenges the usual cliches of disease films.

The Trust is whimsical, deliberately uneven and much more interested in character than action, yet it also has moments of searing tension and a couple of blistering action sequences.

The use of traditional folk song and the fact that the language shifts from Italian to Spanish also highlights the way that stories are passed from mouth to ear down the generations and across borders.

The reason the film works so well is in its well-established teenage relationships - with the Philippous showing the attraction of being in with the cool kids and that the dangers this presents are particularly acute for those, like Mia, who are already emotionally vulnerable or, like Riley, desperate to be included in an older peer group.

The office setting means that we spend most of the film inside small white-walled room with no sense of place and only these cardboard characters to entertain us.

Terminator Salvation looks more towards its potential sequels than towards itself.

As character studies go, it's familiar ground but Funes succeeds in exploring it with some tenacity and strikes emotional chords without resorting to melodrama.

A merchandising rather than mythologising opportunity..

There is not a single note in any one of its songs which will surprise you, and although ostensibly big on emotion it’s so slick that you will feel nothing except what you take in there yourself.

A more than creditable effort by director Chris McKay and writer Zach Dean.

The film really shouldn’t work, but it does.

Sagal throws herself into the role with such force that’s a wonder the screen doesn’t break.

At first glance it seems like a rollercoaster action movie but underneath it's full of ambiguities, hidden clues and red herrings.

Intensity burns through almost every interaction

Time and place hold both no and every meaning in Christian Petzold's latest film.

This starts as a chamber mystery about blackmail where everyone involved is massively aware of genre conventions, and from there furls and folds into something else.

Characters who belong to a fairy tale or folkloric world struggle to contain themselves in flesh, edged out by the existence of mere mortals who, despite their vulnerability, forever push them to the edges of the narrative.

As sentimental as it is endearing.

This is a clean-cut, old school script that has no time for messy interludes or spare chat, but this is a feature film not a documentary and the polish adds pace.

Where most films of this ilk are driven by aggression, Marx instead pushes hers forward with a mix of melancholy, quiet desperation and futility.

Øie makes good use of the claustrophobia generated by his smoke-filled tunnel, knowing when to keep it simple, and this will doubtless be terrifying to some viewers.

The overall effect is not unlike watching a delicate and subtle poem slowly turn into something altogether more clumsy and prosaic.

Bennett gives the film a polished look that belies its low budget.

Strives for profundity but instead grates irritatingly.

Young takes his time, exploring the history of relevant publications and Hamilton's role in their growth.

A sensitive and insightful tale with a lot of emotional resonance.

A study in grief, using magic realism, seems metaphorically top heavy.