Search: Starring Charles Dance

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

The performances fill the space between appeals and commissions with enough sincerity to retain your interest.

The ingredients are here, jumbled up, too confusing to fit the restrictions of a single screenplay

The whole movie has a slightly flat “filler episode of a BBC political drama” feel to it.

Baffling and slow

The plot should have been doused in irony and the supporting characters led away in chains.

The plot developments become progressively more ludicrous and inconsistent and the dialogue offers lead where ham and cheese would be much more appetising.

With formal narration which captures the style of the period and similarly distinctive dialogue, the film quickly immerses viewers in its small but volatile world.

There is a magnetism to it all.

The plot rots in its own historical juices.

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

This is a blockbuster which puts the emphasis firmly on entertainment by showing its heroes enjoying their roles, not suffering through angst.

With such material it is hard to fail. Tucker does not succeed, that's all.

This is a film whose bombast and ambition is compromised by the fact that it clearly never met an idea it didn't like.

The kind of period drama that screams “festival launch” but doesn’t trust its audience enough to tell its story subtly or with any surprises.

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.

Even Banderas' character feels like a cheap knock-off who is not fit to polish the boots of Puss.

From a technical standpoint, Vaughn and the cinematographer Ben Davies outdo themselves.

Behind the Annoying Child Protagonist and the knee-deep schmaltz there's a perfectly enjoyable film.

The plot behaves itself and is traditionally predictable

This is a film that lets words sizzle more than anything.

Lily James bares her wit and her teeth as Elizabeth Bennet, and she does about as well as she could do with a script that can’t decide whether it wants to repackage or repurpose Austen’s original work, instead falling down the crevice in between.

The writing is sharp and succinct.

If looks could kill, the audience would be dead.

Starter for Ten is not searing drama, but it does make for a pleasant and worthwhile trip down nostalgia lane.

It would seem that The Ends Of The Earth has everything going for it. Unfortunately, it's interminably boring.

That Good Night is a fitting tribute to a great actor, but it is not as smooth a swansong as one would hope.

Elegantly put together and watchable throughout, but falling short of the potential offered by this fascinating case, Woman In Gold has the shiny appeal of Klimt's work but none of the depth.

Like spending two hours with a six year old who has just learned a new naughty word.