Search: Starring Alex

Goes down easily, like a house red.

The cinematography is deliberately downbeat. The narrative meanders as its hero does.

Given that U Are The Universe is practically a one-man-play, Volodymyr Kravchuk masterfully commands the screen combining his knack for humour with a strong sense for drama.

The difficulty with sustaining intensity for any period of time is that it so easily becomes ridiculous, but there is absolutely nothing in this brutal, at times violent film that will have you laughing.

Stylistically it's all over the place, combining elements of action movie, mockumentary, feminist polemic, history lesson and romance, but it has a freshness and energy that will delight genre fans.

The privilege of having a human film crew witness some of the more repulsive vampiric habits is treated with respect.

Jennifer Connelly has never been more subtle and astute.

Inti Briones's muddy, saturated black and white imagery complements director Daniela Thomas' tight close-ups and lingering landscape shots in conveying both the paradox of the location and the pressure its inhabitants feel.

Once again, the power of Leigh's films derives primarily from his obsessive attention to detail.

By far the best instalment to date, with a stylistic consistency and a sharp wit which make it worth seeking out regardless of your feelings about the found footage genre as a whole.

A contender for the best V/H/S film yet.

The most restrained and yet audacious, unadorned and still intelligent picture the Argentinian auteur has made.

Àlex Brendemühl is superb as the doctor, by turns avuncular and ruthless, somebody on whom the family find themselves increasingly dependent even as they come to distrust him.

Walking Out treads a familiar path but harks back to ideas that have been forgotten in many modern hunting myths.

Morality and mayhem make uncomfortable bedfellows

Really quite an old fashioned film about what happens when an ugly incident transforms the dynamic within a high school that seems entirely free of adult influence.

Money is wasted on explosions and stunts when it should have been given to a script doctor.

It is thoroughly endearing: a Jane Austen for modern times, exploring women and friendship in a way we rarely get to see on screen.

The dialogue is sparse and when the characters do speak, it's clunkily written, laden with insipid profundities, and often badly delivered.

It is a pity that with inconsequential storytelling Christian Schwochow wastes quite a bit of the story’s potential.

The exposition tends to be laboured; what few gestures towards subtlety are made are lost in repetition.

Manning's real life sacrifices and internal torment are the beating heart of the film.

The humour is filtered through a storyline that keeps losing credibility

Is Porumboiu simply seeing how much he can get away with? How far does this artistic experiment extend beyond the screen?

Whiteout should have been great; unfortunately it's god awful.

Who Am I succeeds because it grounds its braggadocio in action that never feels beyond the realms of possibility.

It may be derivative, it may contain one too many clichés but nevertheless, the film is dynamic, energetic, amusing and clever.

It is a tough watch but, like everything of value. remains with you longer and deeper.

There is a certain hollowness about this production that reduces it to a lightweight comedy.

Amini's script cuts James to the bone. Softley allows the magic of Venice to intoxicate his senses.

Everything about McCarthy's film feels easygoing and economical. His scripting is sharp and laugh-out-loud funny, with relationships and family dynamics establilshed quickly in an unfussy fashion.

Wishcraft decides to play it straight and fails miserably.

It takes real skill to make a film this stupid this effectively.

Wisdom is quiet and the future a mystery

A pitch-black satire on our selective memories of death and the deceased.

It's fascinating to see these events as portrayed at the time, rather than in hindsight.

Each story has to it a kernel of interestingness, some more than others. But I wasn’t convinced they all belonged in the same world.

This is no chest-beating, flag-waving war movie, no propaganda for conflicts past, present or future, War Witch is the story of childhood destroyed, a country in flames and of how we survive the worst of what (in)humanity throws at us.

Through this lens, through this empowered performance, familiar material feels very different.

Quite possibly the best of its kind.

Likely to strike the strongest chord with couples who understand there's a double meaning to enduring love.

Something extra is needed and fortunately this film has that.

This is a tale which rewards the intelligent viewer and, ultimately, has much more to say for itself than the average crime thriller.

Simon confidently marries the investigative and horrific aspects of the story, and very effectively combines sudden scares with the gruelling horror of a problem that won’t go away.

Directed with wit and panache by Scott McGehee and David Siegel, written by Carroll Cartwright and Nancy Doyne, Maisie stays true to Henry James's two-part essence.

The honesty and simplicity of this picture were then indicative of talent.

An enchanting story with a very dark subtext.

The fact that Chu doesn't try to present himself first and foremost as a likeable person, as most documentary subjects do, is itself interesting.

A patient, affecting study of human connection in unusual circumstances

Worthington is as nebulous a charisma void as ever, sucking all the life out of everyone and everything around him, while Liebesman is reasonably capable with action but proves a total hack when it comes to handling anything remotely resembling drama.