Search: Starring Caleb Landry Jones

As a first feature, it may not be totally surprising or very subtle, but it does have some impact, particularly visually.

Neil Jordan skilfully examines the nature of time and the theme that he surveys like no other filmmaker - what it means to physically be in two places at once.

What should simply be a diverting no-brainer is made considerably harder to swallow by the script's shallow handling of some unsavoury subject matter.

Landry Jones is...expanding his range into a conventional space rather than delivering a refreshingly unconventional take.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

The script doesn't patronise its characters, showing they're just as capable of the best of actions and the worst as anybody else, but makes sure we understand the additional pressures they face.

There is something wrong, something odd about this place

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

At times the discomfort that Harvest causes is not from dirt or despair but the room it leaves for interpretation.

On one level the film is pretty simple, though nicely put together - but what makes it more interesting are its moral and philosophical twists and turns.

Jones has been turning in consistently good work for years now and it’s high time he had a role like this. The art of it lies in how he keeps us alert to his character’s dangerous potential without ever letting us lose sight of his humanity.

Anchoring the audience with a perennial fence-sitter allows more room for the inevitable impact of the characters' stories, without the weight of an absolute ideological argument.

A complex portrait of grief, Tom At The Farm is Dolan's strongest work to date, not least because of the performance he gives in the lead.

Fortunately, McDormand never lets Mildred's hold on us slip, balancing the conundrum of a woman who is simultaneously a mum, who likes a beer and a game of pool, and a Rambo-style avenging angel.

Brunner clearly loves Norman - art for art's sake! - but fails to communicate how others have come to tolerate him.

This is a film about America's difficult relationship with race and the way that unresolved issues result in ongoing damage.