Search: Starring Alex

Franju is carefully slicing along the line where the concrete rigours of modern science intersect with the abstractions of youth, beauty and ephemerality.

A breezy, captivating and balanced tale of a studio whose rise and fall is perhaps the only story actually more bizarre than the plots of the films that came out of it.

Everything about the film seems to fit a purpose, and Van Sant's purpose is to show that we can never understand the reasons why.

Dangerously thin on purpose

Villeneuve knows how to stoke the tension so that benign moments become first unsettling and then downright creepy.

Angelopoulos likes to linger. Every shot would benefit from a tighter edit.

Skop has made documentaries in the past and he and Vásáryová are alive to small gestures.

So overloaded with oddball characters that it never finds an even keel.

The thematic links are remarkable, because they reveal and conceal simultaneously.

It's a shame that it ends up running round the corridors instead of making something of the various opportunities it has to throw in twists or add depth to its storyline.

There is plenty to admire here, including some clever juxtaposition of audio and image.

Comedy perfection.

It's A Trap! is unquestionably Family Guy's best-looking Star Wars special (and the first to be made in widescreen), but... there are just too many lazy jokes.

The parody startS to feel as though it is being stretched very thin.

Fuller is absorbing in the central role, really giving it her all.

Even the high quality of acting fails to inject any sense into the proceedings.

Faith Based is a wake-up call from a critical friend.

As might be expected from an actress-turned-director, the performances are important to Tezel but she also shows an aptitude for visual storytelling.

There is a careful balance here between the big drama of the premise and the personal dramas experienced by the characters, most of whom pay no particular heed to the wider tragedy unfolding.

Both stars are excellent; Grenier, who does most of the heavy lifting, transforms over the course of 17 minutes in a way that makes him almost unrecognisable.

Fifty Shades is romcom without much com: an old-fashioned soft porn flick designed to appeal to women “of a certain age” (and younger).

On the big screen Bloodlines was close to an amusement park ride, the steady click of anticipation paired with the knowledge of the impending drop. On small screens that sense of fun will be preserved, though perhaps not as immersively.

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

If Rutterford had been confident enough to keep things simple, he could have had a real winner on his hands here.

The unassuming love story serves a second purpose, employing a personal lens to explore the European Union’s troubling status quo.

It doesn’t follow the familiar rules of the revenge movie and doesn’t provide the same type of satisfaction. McIntyre is more interested in finding real solutions.

Shot in handheld black and white with an obviously-low budget, it might seem rough – but what we’re watching is still pure Nolan.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

It is, at best, enjoyably terrible.

A film like this is a costume designer's dream.

The final stretch, when Alex commences the climb, is some of the most nail-biting cinema you will ever see.

The film is unnecessary, crude and unrefined, but takes its place in the entertainment black hole that is Friday night, as the cinematic equivalent of a fried Mars bar.

Tyler Shelds' surreal fairytale is part morality play, part action thriller, all of it stylishly shot.

Maurice Ronet gives a towering performance.

The physicality and fluidity of adolesence are brought to the fore by Anna Rose Holmer in her tightly directed debut feature that avoids the bear traps of American coming-of-age cliche to offer a classy, thoughtful character study.

A funny, original and often tender début feature from the talented Mr Eklund.

Whilst it has something going for it as a study of awkwardness, it never quite takes this far enough to break new ground.

Ray Winstone really should have known better, though his accent – American Deep South via London East End – is possibly the funniest thing in the film.

Films like this don't come along very often.

Raaphorst and scriptwriter Chris W Mitchell seem so proud of the look that they completely forget that a film also needs to have a decent plot and characters lying beneath the costumes.

Fabienne Berthaud's film meanders between dissonant, ethereal scenes in the sanatorium and the frenetic action of a photographer's studios... the contrast between these two worlds is absolute.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Schäfer is excellent in the central role.

Maugg illustrates his own command of the Expressionist form.

Cotillard's face oscillates mysteriously between the past depicted on the screen and a woman of the present who tries to understand.

This haunting ghost story is an old-fashioned family film that will delight both kids and adults. S