Search: Starring Charlotte Rampling

To call the film haunting is an understatement.

It is the journey, not the arrival, that matters.

Lucy Russell in particular puts in a fascinating and nuanced performance.

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

Never really delivers the goods like it should.

Catherine Tramell is a great character and Stone pulls it off perfectly.

The interplay of the spiritual and the sensual is vital here.

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

A glossy, superficial affair, leading up to a climactic sequence too laughable to impress in any way.

Cleanskin is a smart and visceral thriller.

As a thriller, a piece of soft porn, or a character study, the film is room temperature.

It is pretty.

Dune at least looks, sounds, amazing, though not always.

Ultimately, the film suffers from the same problem as the marriage it depicts: a lack of sizzling passion.

François Ozon makes what could have been an impossibly painful subject more palatable but nonetheless affecting.

The thematic links are remarkable, because they reveal and conceal simultaneously.

What is quite wonderful in all this flowing and "fade, fade, fade," fading is that the characters and their stories belong to no one specifically. They belong to a cinematic spirit world and maybe nobody even wanted them.

Instead of context and plot, Cantet has aimed at a character-based narrative, which falls flat due to lack of characters.

Owen is fine when looking moody, but not so good when given dialogue - it seems too staged, too deliberate.

Given the Rampling family pedigree there are certain expectations of quality, and Southcombe largely lives up to the promise with this sharply stylish crime mystery that gives plenty of space for Rampling to flex her acting muscles.

Moll can hold his own, offering in Lemming a death-defying leap into the angst-ridden psyches of the modern couple.

Lars von Trier's sublime invitation to the end of the world is a grand film by a master story teller who does not repeat himself.

Good, light-hearted Sunday evening fun.

Never Let Me Go arrives trailing a lot of hype and carrying a considerable weight of expectation. Happily, it more than delivers.

There may be moments when it's truly awful, but it's also strangely compelling.

Beard loves big landscapes and big animals; his joie de vivre and fascination with the scale of the universe come across strikingly in these epic frames.

[A] thorny, intangible and episodic cinematic dream.

The lady can't keep her clothes on. It's part of the training

For all its visual skill and mostly good performances, this is a tiresome, dull film.

No defense against a life less lived

Light without being floaty, easy to watch without leaving a trace, almost attractive, certainly self-assured and faintly amusing.

If looks could kill, the audience would be dead.

A study in grief, using magic realism, seems metaphorically top heavy.

Amini's script cuts James to the bone. Softley allows the magic of Venice to intoxicate his senses.

Keeps holding out a promise of insight into its young protagonist's mentality and makeup, but ends up merely observing her from a cool distance, as if through the binoculars from the opening scene.