Search: Starring Andrea Riseborough

David O Russell's latest - a shaggy dog mystery with a deliberate air of penny dreadfuls - could do with more straightforward narrative and fewer screwball convolutions.

Everything feels alive and the production design by Judy Becker is impeccable.

There's some great black comedy here, at times spectacularly cruel.

Succumbing to rather too much melodrama in the final third, which undercuts the chilliness of what has gone before, this is nonetheless an interesting debut that promises better to come.

The performances of double Oscar-nominated Blethyn and Riseborough provide hypnotic accounts of their characters as two vulnerable souls on the edge.

If you have ever laughed at the headmaster when he slips on an egg yoke this movie is for you

Winslet performance holds a powerful sway, embracing Lee’s abrasive and conflicted personality and viewing the horrors with an analytical eye and a sense of bravado as well as despair.

Durra isn't looking to make anything so simple as a romantic drama, though that element is there, but instead to consider what lies beneath Hana's words in terms as she grapples in the liminal space between her past and her future.

A moment perfectly captured.

Told in an accessible and reassuringly crowd-pleasing way.

I can't understand why anyone put this film into production.

This is one of those films you keep hoping will step up a gear while slowly realising it won’t.

The film only lives up to about 80% of the promise whereas I wanted 150%.

An intense character study in triplicate, made gripping both by the deliberately ambiguous way in which Christina Choe approaches everyone's mental state and by the performances.

This is a study of bitter, sorry people hurting each other using ancient memories, propelled like bullets via the power of fiction.

The slow-burning two-hander first half gives way to a revelation-heavy final hour, where every new sub-Shyamalan surprise only confirms how much Oblivion is ripped off from superior sci-fi that knows its game better.

There are layers and layers of humour here, sometimes rooted in queer and theatrical traditions but mostly accessible regardless.

Cronenberg is most certainly David’s son, and while he’d probably prefers to avoid comparisons, his proclivity towards jarring imagery and shocking material instantly calls to mind his father's work.

It's Riseborough who carries it, and on whose carefully judged performance its emotional twists and turns depend.

Marsh takes no prisoners, makes no apologies and kicks you when you're down, all of which makes his films dangerous, inifinitely watchable and almost unbearably surprising.

Watching the film, which refreshingly tells the story from Wallis's perspective, you begin to wonder what on earth Madonna was thinking when she decided to tack on a framing device involving a modern Manhattanite's abusive relationship.

This fine array of actors is charged with safeguarding a plot as weak and confused as a newborn kitten.

Its slow, observational style allows us to get much closer to the key figures and explore aspects of motive which are commonly lost.