Search: Starring Brian Cox

No filmmaker since Woody Allen has loved New York like this, but Lee is prepared to show it in all its stark ugliness.

With strong performances all round and gorgeous cinematography by Óscar Faura, it's a powerful piece of work.

Strikingly lacking in originality or sense of fun.

Øvredal takes a handful of old tricks - a cheery song playing unexpectedly, lights blinking out in a corridor one by one, the tinkling of a bell - and uses them to chilling effect. The result is a film you really won't want to watch alone.

There are some nice set pieces here and there but, like the air on Terra, everything feels stodgier than normal.

Kurylenko, increasingly impressive across the span of her work, is on fine form.

[Damon] knows the moves, which are implemented with ruthless efficiency.

Performances by the entire cast are flawless. Paul Greengrass directs with energy and precision.

Parents whose eight year olds have just gone crazy watching their first World Cup would be well advised to take them along, as they'll probably love it.

There simply isn't anything here that will surprise anyone who is a veteran of cop films, with characters' actions, plot twists, misdirections and revelations quite easy to see coming.

There is nothing glaringly awful about the film, it's just that it's very middle of the road.

Though it is Cox's turn that grabs, it is Konig's that delights.

The film also looks great, with a rich and varied colour palette and costume array, plus crisp camerawork from Barry Ackroyd combined with nifty editing.

The film breaks the rule that says Winston saved us, he cannot be criticised

Perfect family viewing for a lazy weekend.

Keaton half-deranged is an improvement on Keaton half funny.

Proficient entertainment that marks debut writer/director Wyatt out as a filmmaker to watch.

Exit Humanity's attempt to rewrite history may bring a bit of fresh meat to the table, but it hardly adds up to a bright new future for the zombie genre.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

Costner is running on empty.

What is his dream? To beat the World Hour Record. What’s that? You bicycle solo round an indoor track for 60 minutes. Is this cinematically rewarding, or understandable? No.

The film is enjoyable enough, but unfortunately Kiefer Sutherland is not Alan Ladd.

Apart from Cox giving it large, there is nothing to this film except sentimentality in disguise.

It is in these details, the small objects Jonze provides us with in his film of disembodied desires, that essences become distilled.

For those who've always found Robin Hood yarns a trifle lightweight, this rufty-tufty beer-swilling, limb-lopping examination of King John attempting to quash a rebellion after being forced to sign the Magna Carta is worth a look.

Is the movie a metaphor for sexual relations in the Nineties?

The film is intelligent and honest, without being, in any way, entertaining.

To mix courtly and cavalry intrigue requires stable footing and the film is well poised.

Cox's Hannibal is a masterclass in moderation.

This is comedy in the Shakespearean sense, the whole story revolving around the importance of luck.

The film's principal weakness is that it's so busy being clever at being something else that it forgets to be itself.

Cox delivers the best onscreen monologue seen outside of a Shakespeare adaptation for years.

The reason this franchise succeeds is that it never takes itself too seriously.

A thumpingly good knuckle-biter.

The performances by Naomi Watts and Martin Henderson are intense and charming.

Affectionate and good-natured and, let's face it, a bit soppy and predictable.

It's so oozy with reverence for the national game, you feel like taking up topless darts to get away from it.

In short, this is a great summer movie, spectacular in its realisation, yet resonant in its themes.

Energy, enjoyment and a refusal to be bothered by purist sensibilities make this a rollocking good adventure.

The movie is peopled by characters without boundaries and the cast responds by turning in some of the most extravagant performances this side of I, Claudius.

What gives this film an edge over conventional rites-of-passage movies is its oddity.

Depending on your outlook, Shoot On Sight is either an opportunity missed, or a diamond in the rough.

Duvall is crippled by an accent that lurches from Partick to Dublin and back again. His body language speaks to Cincinnati, rather than Sauchihall Street.

As the film digs into psychological stress, Athale crafts the sharp, unspoken parts of grief into shards that cut at his characters.

Kelly Macdonald has retained the one thing that actors would kill for, the ability to be natural.

Super Troopers takes an old idea - Police Academy on wheels - and gives it a fresh coat of jokes.