Search: Starring Ben Kingsley

Green's richly detailed documentary is a portrait of a remarkable woman, a love letter to early cinema and a fascinating detective story all in one.

Having set a scene of intriguing grotesquery the plot falls victim of its own invention

Like the best comedy, it's both wilfully stupid and deceptively clever, pushing buttons you may not expect.

Ender's Game is a cut above a lot of sci-fi action films for teenagers, confronting them not just with special effects, but with a decent debate concerning the morality and politics of war.

Elegy is well acted by both the lead and the supporting actors, which helps in carrying the emotional load of the film forward.

Throw away The Bible and let's look at this thing afresh

Despite trying a little too hard to be cool and edgy, this is nevertheless an entertaining thriller with a decent twist.

Ben Kingsley excels as the unassuming hero who leads his countrymen to freedom from British rule using peaceful means, however you can't help but be disappointed by other aspects of the film.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

The performances are exquisite.

Things do explode. Lots of things. The difference between this and the previous outing is that we care why they're exploding and about the people who are standing next to them when they do.

Few documentaries can ever have been put together with the same level of meticulous care as this one, clearly the product of exhaustive research.

The film has adventure at its heart and excitement in its pocket.

Malick and his cinematographer Emmanuel Lubezki, if nothing else, deliver stunningly beautiful vistas and backdrops for his narratives and characters, yet like the characters, there seems to be something empty at its core.

There's a proper sense of adventure and the scale of the story is appropriate for a great legend. Unfortunately the sword it all revolves around looks as if it came from Poundstretcher.

Drifts dangerously close to irrelevance.

Sarah Kernochan's screenplay is precise and doesn't shy away from the real-life absurdities we all encounter.

It's the pace of the film that wins the day.

Myers may be wearing strange clothes, he may have a comedy beard, and he may make jokes about flatulence and groinal injury at every opportunity, but that's about the limit of his range.

What's really revolutionary about this film is the way Ivory photographs male bodies.

The special effects are truely magic

You're going to want to break out your crime cliche bingo card early, lest you miss the full house.

Polanski has crafted something that already feels like a classic film, beautiful to look at, combining accurate period detail with a certain gothic expressionism and brimming with earthy characters and high drama.

The plot is cobbled together from second-hand ideas and given as much panache as Hush Puppies on a catwalk.

Formulaic though it is, the film is undeniably a lot of fun, with a good balance of peril, action, romance and humour.

The flaws belong to the formula itself, not the argument.

It is not a happy ending, but an affirming one, in that it shows that it is possible to reject mass genocide and that good men can save the world entire.

Kingsley gives a chilling performance.

The centre of Shang Chi is a wuxia picture. A very entertaining one too.

Even when one has a rough idea of where this mystery thriller is headed, the devil is in the detail, and each turn of the screw is handled with the sort of deft craftsmanship that becomes a pleasure unto itself.

The plot has no tolerance for logic and the dialogue is of the 'She's frustrated' 'Who isn't?' variety.

The pitting of Kingsley against Caine in this context is delightful.

Though it has a simple story, somewhat blank acting and awkwardly choreographed fights, its every flaw corresponds perfectly with the make-up of the original series.

One increasingly unlikely incident follows another, saddling the characters with exceptionally dumb behaviour and silly dialogue until the whole thing goes off the rails.

What really hold the attention in this playful comedy are the central perfomances.

Everything is wired for excitement.

Nothing can save the film from blandness, or disguise a tiresome, silly plot.

It is as though the cast and scriptwriters are constantly nodding to one another and admiring their own cleverness.

An ostensibly rousing speech is aiming for Braveheart but has all the grip one would expect from an address to an adhesive sales conference.

For fans of Dahl or the director, this is unmissable.

You Kill Me is light-hearted, never really laugh out loud funny but always amusing.