Search: Starring Anton Yelchin

By and large Foster keeps things straight, but the film does wobble tonally between psychodrama and whimsy.

Yelchin is a charismatic and believable anti-hero, smart but insecure and neither a walking wisecrack-machine nor a stereotypical ‘mixed-up kid’.

A largely conventional thriller about the last-gasp of mission of a die-hard CIA agent that is lent moments of surprising poignancy and glimmers of madness thanks to Nic Cage's performance.

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

What's noticeable about Gillespie's version is how little really has to change to make it work.

Less psychological and more formulaic than his previous feature, this is still relentlessly entertaining.

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

Offers plenty of uncomfortably familiar observations for anyone engaged in a relationship that is either long-distance, or just long-term.

The inevitable sadness is balanced by so much joy and energy that it's a delight to watch.

It's down to Yelchin to convince us to care, and it's to his credit that he generally manages to pull this off.

What is so disarming about Jarmusch's Only Lovers Left Alive is a scarce sense of appreciation - of the vampire couple for each other and the appreciation by both of them for what is great in the world.

These particular pirates may not be the greatest at, well, pirating, but if you're ready to set sail for adventure, they're the crew to join.

The machine here proves to be little more than a macguffin for a murder mystery set-up and a side helping of sentimental stodge.

JJ Abrams rescues Rodenbury's creation from the pop culture scrap heap and produces a very likeable romp.

The film’s flaws come primarily in the weak villain and some irritating editing and plotting choices.

The baddie's been beefed up, the plot's been pared down, but the emotional core which really sold the first film—the magnificent character interaction—remains unscathed.

Terminator Salvation looks more towards its potential sequels than towards itself.

The weirdness thrives on understatement