Search: Starring Anthony Hopkins

Two things that save this cowp of a film from utter banality are the cinematography, which is technically competent, and the quality of the actors and their performances.

Amistad is one of [Spielberg's] deeply felt niche pictures that won't cause ripples on the stock market because of its uncompromising nature.

The film is full of beautifully observed and detailed conversations as well as silences that speak volumes.

The jokes dry up, because Rock is a one-gag guy

Estevez uses Bobby’s words too much, but you can’t blame him, because Kennedy’s compassion and sympathy for the underprivileged shines.

Coppola's aesthetic is all about excess and lacks the self awareness that let Hammer Horror films get away with this.

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.

The story has a been-there-botched-that staleness about it.

Merrick’s history, with its tragedies and triumphs, breaks the barrier between a life less ordinary and a horror comic.

Zeller elegantly and scarily fuses dream logic with markers of past trauma.

Despite the capable acting (Hopkins may overdo it but is still terrific at times), the whole thing feels rather dull and pointless.

Fracture is clever, masterfully controlled by an actor whose love affair with the camera never seems to wane.

Yelchin has a unique talent. He conveys subtle child emotions with an ease and accuracy that is uncanny.

This is played for laughs, which gives Anthony Hopkins's performance an odd Hammer horror feel to it.

Sacha Gervasi's quick-witted Hitchcock discloses assorted desires of reinvention

The twisted story spans decades, but a series of consistently strong performances give the plot the cohesion it needs.

Gooding and Hopkins give it the works... pity the script lets them down.

The Lion In Winter is a film made stunning by the performances of Hepburn and O'Toole. They both thrive on James Goldman's tight script.

The pace of the film would not startle a snail.

It is to Tom Cruise's credit that the sequel is infinitely better than the original.

Noah 2014 seems terrified of anything not spelled out.

Offers a convincing demonstration of the theorem that good writing and sensitive performances can equal an engaging and nuanced piece of cinema.

The reason this franchise succeeds is that it never takes itself too seriously.

Scraping nails and scratching heads are about as scary as this film gets, and these are two activities its audience will find themselves regularly indulging in.

It’s a film which deserves to be watched in a group and enthusiastically heckled, with a bit of popcorn-throwing to add to the fun.

It’s a peculiar thing to see a man who steals so liberally run out of ideas.

Norton holds the film together. He is such an unselfconscious, natural actor. Fiennes gives it welly.

The ideas are presented in a crisp, unfussy way by James Ivory. He’s working with an intelligent script by Ruth Prawer Jhabvala, and two impeccable central performances by Hopkins and Thompson.

A quiet, moving film.

The parallel stories of the two serial killers exponentially increase the tension of the whole and this unrelenting film never lets the audience relax.

This is a film of boundaries and barriers and attempts to overcome them.

Thor: The Dark World is nimble of step in the comedy department but as heavy as a hammer to the chest when it comes to exposition.

Though the film had its moments - mostly in the deliciously playful nature of Shakespeare's dialogue - it's hard to see it matching the success of other recent adaptations of the Bard.

The ideas are so shamelessly out-there and imaginatively employed that it's hard not to get caught up in it all.

This really is the funniest, campest mainstream superhero film I can remember since the Adam West incarnation of Batman.

The Two Popes is totally captivating when Pryce and Hopkins simply talk and react to each other.

The Wolfman is no one's definition of High Art, but it's great craft.

A gem of a picture.

This is far from vintage Allen, yet it's still a cut above most similar dramatic work.