Search: Starring Angelina Jolie

The killer's identity adds fuel to the flames of absurdity.

Literary responsibilities and moral ambiguities aside, Beowulf remains a rollicking good story of man versus monsters, full of gory violence, sexy women, heavy drinking, treasure and shouting.

Straczynski's script is a masterpiece of understatement and restraint, and Angelina Jolie is riveting in the central role.

While the film's more nostalgic elements are likely to help to keep adults on board it is also invigorated, not only by Goodhill's unorthodox approach to the works but also by the diverse casting.

This is almost an hour longer than anything else Zhao has directed, and while her eye is keen there must surely have been a point where someone looked at a script and thought 'this is too much'.

Gone In 60 Seconds provides you with all you need for a popcorn blockbuster.

It is only after leaving the cinema that questions come bursting to the surface, not that they undermine Dr Niro’s magnificent achievement behind the camera

The film has every quality of a personal story.

A thoroughly enjoyable confection that will amuse the kids and provide some decent laughs for those of us for whom attempting a roundhouse kick would require pain medication and physical therapy (I know, I tried).

The vocal cast is star studded. Trouble is they are given too little to speak.

This is a half-decent Episode 1 of an action summer blockbuster.

Lara has changed. No longer a three-dimensional computer game heroine, with enhanced breasts, she has emerged as the next James Bond.

Though undoubtedly a great actress, Jolie has reached the point where her personal life dwarfs any role she could conceivably play.

An interesting side to this film is how Disney continue to stick two fingers up to the reactionaries.

It is gorgeous, both to look at and to listen to. It's perhaps Larrain's most accessible film, though that's as much to do with its star as its subject.

The concept is halfway interesting, the production so overburdened with explosive devices it might have been made in Iraq and the screenplay is as appetising as damp toast.

What keeps the film one step away from Slush City is the crackling dialogue and the performances.

If it weren’t so po-faced it might pass as a bit of good, guilty fun.

The consistent inventiveness of the visuals is matched by the white-knuckle excitement of the plot.

The creative spark lights no fires in this crib.

The concept is good, but there are so many holes below the plotline, it sinks.

Taylor Sheridan's latest action flick has a workmanlike solidity but despite the repeated presence of physical infernos it never manages to get beyond a low heat in terms of tension.

There are moments of distress, high tension, but there's never much doubt that there will be a happy ending.

In terms of awesome per second, Wanted just set a new record.

Prospective viewers need not fear that it will be too dry or jargon-dense and incomprehensible.