Search: Starring Bob Hoskins

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

The enhancements here come, not to the source material but to the look of the film, which is beautifully rendered in immersive 3D.

The film is neither fish nor fowl, one thing or another, comedy or tragedy. It wavers between vulgar and vapid.

The quality of this production is seamless, and if there is a criticism you could say it lacks originality, remaining faithful to the novel, which, for purists, is a form of flattery.

If you like the post-apocalypse films of the Eighties and fancy seeing another one that just happened to have been made 19 years late, this is the film for you.

Hoskins is at his best here, controlled and manipulative.

Two lazy fat cats with accents halve the fun.

Characterisation and incident appear thin.

Nearly 30 years later and John Mackenzie’s classic is still the yard-stick for any new entry into the genre.

A heart-warming story with a dash of religion, a smidgen of romance and a lot of adventure.

Told in an accessible and reassuringly crowd-pleasing way.

Richardson overacts outrageously and Bob Hoskins, as the hotel's butler-in-chief, is embarrassingly obsequious.

Martin Sherman's script is witty; Judi Dench has terrific fun with Mrs H; Stephen Frears directs with sensitivity, not to say aplomb.

Packing a late-stage twist which unbalances everything that has gone before, Mona Lisa is a thriller that will really keep you guessing.

Love’s approach is consistently fresh and, until the end, when things fall apart a bit, surprisingly original. The writing here is taut, concise and as lean as a whippet.

There is a certain amount of retro charm to Sacha Bennett's film tale of print union strife and racing but it never really manages to break free from the small-screen shadow of the likes of Only Fools And Horses.

It is like nibbling for nearly two hours in the kitchens of the best chefs. At the end we are exhausted and hungry.

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

The acting is patchy and, at times, wooden.

You have never seen a film nosedive as badly.

Despite the pantomime nature of the story, a collection of engaging performances really draws the viewer in.

A gripping, exhilarating rollick through a medieval wasteland.

Not so much a thriller, with an unexpected twist, as a schizophrenic character study, a portrait of the artist as a disturbed young man, still exercising his creative imagination to the very end.

Shane Meadows enters the void of teenage ambition with some authority. He writes what he knows.

Unusually powerful, due to Besson's ability to interweave shockingly brutal violence with intimate human storylines.

The film looks magnificent and the performances, particularly from Witherspoon and Atkins, are exemplary.

There is a certain hollowness about this production that reduces it to a lightweight comedy.

Not without its silly and over-the-top moments, Who Framed Roger Rabbit remains a very entertaining technical marvel.