Search: Starring Ben Affleck

The action sequences are alright, but The Accountant falls into the common superheroic trap (or trope) of confusing origin stories with character development.

With another cast this would be an also ran, but Bateman, Tucker, Damon and Davis all put their backs into it.

What I most noted the return of was not kings but pacing issues.

The film goes for broke. No safety net. No apologies. Believing in itself.

Affleck knows how to keep a tight grip on a story, gets better at ratcheting tension with every film, and displays a fearlessness when it comes to mixing genre.

Like a mutant monster, barreling out of control and straining to contain its own shifting form.

Younger infuses Boiler Room with an impressive level of detail.

Apart from the sheer dullness of these two, the script by director Don Roos doesn't go anywhere. It starts at A, hiccups on B and ends at C.

Gliding smoothly under the surface of what appears to be a serious film about coincidence and morality is that old black magic called sentiment.

Smith crafts a movie that is more polished and - arguably - more mature than his previous efforts.

It's well directed but even if most of the cast weren't phoning it in they would have real difficulty eliciting sympathy.

Thornton's writing is well-observed, creating characters who, while embodying all the usual white trash traits, have a three-dimensional quality to them.

Comicbooks are not about credibility, but what's going on here is far harder to accept than Clark Kent wearing funny underpants.

Anonymously directed, mechanical and unsurprising and is aimed at the indiscriminate lowest common denominator.

Why should a story about two angels who have been hanging around Wisconsin for aeons, bored rigid, and wanting to go home, be understandable?

Before getting excited, remember the title. Nothing is as it seems and nothing makes sense.

If you mourn the days when montage was king or have wondered why magic hour lens flare shots seemed to fall out of vogue, then you can fill your boots with Finding The Way Back

I have to give credit for The Flash understanding it is derivative, repetitive, even repeating elements of its opening for comic effect.

[Bullock] stretches those irresponsible muscles. It suits her. Affleck still can't match his performance in Chasing Amy.

The end product might not feature too many surprises, but the dialogue is occasionally dazzling and leads to many poignant moments.

The plot doesn't move and the story is unbelievable.

Rosamund Pike is a revelation as the woman who can be everything you want her to be - and, especially, what you definitely don't want her to be.

A warm, wise and witty examination of male/female relations so grounded in the real that makes Sex and the City look as insightful as a stool softener TV ad.

Amounts to a criminal thriller with extra magic

This is either an inspired satire on the state of popular cinema, an ego-trip of mammoth proportions or a bucketful of vomit.

Surprisingly good.

Everyone involved here has done better elsewhere.

The inconsistency of tone infects every part of the film, leading to uneven performances .

As a punch-em-up, Paycheck is well done, but nothing we haven't seen before.

Not so much From Here To Eternity as From Here To This Time Next Week, which is a terrible waste.

The air is heavy with irony, light with laughter and alive with love.

Treat it as a live action cartoon, with dramatic pretensions, and you will not be disappointed.

There’s more going on than just prejudice, as the well-worn themes of friendship and loyalty are given air to breathe.

The producers have kept what was best about the original, added some interesting touches and resisted the temptation to pile on the contrivances and explosions.

Asinine and confusing.

This offbeat comedy is a genuine step forward in the Scrooge-U-Like repro market.

The Town sets aside stylish thriller tropes in favour of realism, which makes the action scenes a lot more visceral and the characters rougher round the edges.

Once again, Malick tackles the big themes full on – love, the nature of creation and creativity, the relationship of Man to God, and of humanity to the environment – and reaches what seems to me a pretty pessimistic conclusion.

As Jackson Browne’s My Opening Farewell delivers a lyric about standing before a window, we get a shot of the boy standing before a window. Did Clooney make this in his sleep?