Search: Starring Brendan Gleeson

Garland needs to get back to the drawing board and look up the term 'character development' in his notes.

What really makes the film work is the ambiguity around its central character.

This film is not worth seeing. The costumes, special effects and a brilliant cast can't save it.

Banshees is lifted by good performances, particularly from Keoghan and Condon, whose major scene together has a delicacy of emotion that is sharply at odds with the brute force McDonagh more generally employs.

Breakfast On Pluto's tone is a discomforting mixture of comedy and tragedy.

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.

Although displaying much of the barbed wit of his first film, this is a more measured and moving work.

Feels like the real thing.

Cage gets killed over and over and comes back to the same place to start again. Bor-ing!

It is only sporadically involving with even the usually hypnotic Huppert struggling to make an impression.

Brendan Gleeson does a wonderful job as Cahill, bringing out his humour, sweetness and, to some extent, paranoia.

The acting is ensemble, which means no-one stands out and everyone chips in. Day-Lewis, unrecognisable behind a 'tache wedge, is the most memorable, due to The Butcher being a bigger sicko than anyone else.

McDonagh takes what could be a hackneyed tale of mismatched buddy cops and spins it to blisteringly funny effect.

The Order Of The Phoenix is the best in the series.

Predictable and embarrassing, despite a cast that deserves better,

For the first time in what has become known as The H P Experience, you feel genuine emotion.

An early piece of Levienaise-Farrouch's score profoundly conveys the dance between beauty and sadness or beauty and pain.

This comedic and profane tale of not-so-cold-blooded killers seems to be the fusion of two movies, a very funny buddy comedy and a ruthless gangster thriller.

Class and experience divisions form the bulk of the interpersonal drama and it’s as predictable as expected, with the added tedium of Hemsworth apparently defaulting back to weirdly out of place Asgardian diction, bellowing like Thor at every little thing

The animation is just part of the film’s major selling point, which is unpredictability.

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

This is exactly what a sequel should be, respectful, goose bumpy and warm hearted

The plot meanders and doesn’t stand up well to scrutiny.

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.

Camp when it could be creepy, silly where it should be scary, V For Vendetta director James McTeigue's latest offering is fitfully entertaining but tragically turgid and formulaic for the most part.

The flowing feel of the sea runs through Moore's animation, just as illuminated manuscript ran through Kells.

Captivatingly creative but over-fussy in terms of story, this is still an entertaining and accomplished debut.

All message and no massage

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

A movie with this kind of pedigree should not be a mess. And yet it is. Horribly so.

Far from being a roaring, sinewy beast with a lot of bite that the title might suggest, John Boorman's latest has more in common with a lumbering white elephant.

The West Country slang in use is at times impenetrable, but it’s clear that writer Alex Simmonds has spent a long time learning its intricacies, and the actors are doing their best to capture the spirit and tone of this community.

Ultimately, there is no depth to the drama and precious little soul.

Gentle, touching, amusing, terrifying, shocking and dramatic all rolled up into a beautifully shot and skilfully rendered film.

Warm-hearted but wayward.