Search: Starring Chris

Herriman is perfect in the lead.

An impressively noirish moral fable.

The sheer predictability of the plot means it doesn't really stand up to the scrutiny of anyone older than 15.

There's no doubting the film looks good..But there's a feeling of both too much gloss and of glossing over details.

1915 does an impressive job of balancing different perspectives and concerns around the issue of remembrance.

As a story it falls apart because there is no one to root for.

A remarkably well made film that makes no compromises to the romantic tradition of high school happy endings.

What the film achieves, better than any other rock music movie, is how unorganised and stupid so much of what went on behind the scenes was.

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

There are a lot of bad shark movies out there but this is one of the weakest.

This was clearly a family affair for Delpy and a labour of love, but this film inevitably is taking a risk reheating the five-year-old meal that was 2 Days in Paris.

The car chases are exciting for those who appreciate hand/eye co-ordination and the stunts can be impressive.

David vs Goliath: The Rematch.

Mangold’s version proceeds far too quickly to a ludicrous, logic-defying shoot out.

Denis declines to make concessions, she’s willing to show, refuses to tell.

The suffering on display here is relentless, but it's the form of the film, not just its content, that gives it its power.

A handsome and suprisingly sturdy undertaking that explores the insidious effects of racism with a sharp eye.

This is a film possessed of a rare emotional intelligence.

"I'm so scared we're going to die down here."

The plot produces one of those surprise twists that reinforces its decline into gratuitous cliché.

Ideas of fascism, loss of the soul and post-apocalyptic existence, all ripe for exploration, are given a body swerve in favour of muddled new-age nonsense.

You can do nothing but sit in a haze of expectation, waiting for the fun to ferment, which it does

There's some late in the day pathos which does pull at the heart strings, but the film falls flat once more with a half-baked open ended conclusion.

Though it doesn't really go anywhere new, this film provides a solid document of a series of interesting lives, and succeeds in showing that being good looking doesn't equal being stupid or having nothing to say.

Relationships based on sex and infatuation are doomed

The pacing means the plot doesn't sizzle so much as stew, with only the basic psychological drivers explored.

Abruptio...stands out because of its format but has a strong narrative and smart ideas behind it.

Whenever she and Lumley leave the screen the energy level sags faster than 60-year-old eye bags without Botox.

The script left me with the distinct impression it had been written by someone who’d been drafted in for work experience and was taking revenge for having been forced to clean the toilets.

Breillat shows from her own experience with having suffered a stroke and the camera tells of the hospital and the patient's progress in a tone that is unsentimental, poignant, free.

Undermining sensational beliefs like this is a bold thing for a documentary to do because, of course, there’s far more mileage in feeding them.

A film of true originality...triumph of courage over conformity

The emotions of the characters can barely find any wiggle room.

Charm' is just one of the words, and others like 'winsome' are right there - it manages this without ever feeling forced, without ever feeling twee - and that makes it a triumph.

Schrader uses the monochrome landscape to great effect, slowly building a tension.

The major problem with Agent Revelation is that it's a blatant author self-insert power fantasy.

Reece is very much an actors’ director and he draws out splendid performances from his cast.

With another cast this would be an also ran, but Bateman, Tucker, Damon and Davis all put their backs into it.

Wright’s performance is among the very best of the year to date.

With its CGI clever-dickery the kick boxing is controlled and packed. T

Protagonist Adam (Andrew Scott) lives in a neatly furnished home, no longer feels the need to hide his sexuality, and tells himself he’s fine, but the music says otherwise.

At a point when he can hardly be annoyed by it, this tribute seems a fitting one..

Truth is found in detail and gesture.

Alpha exists in the intersection of the probable and the parable.

As a partnership of writer and actor, it is as close to perfection as is possible to witness.

A competent effort that ensures the franchise - and [Webb's] reputation - are safe, it's just a shame it doesn't soar.

It just all feels like too much of what we expect and not enough we haven't seen before.

As a thumbnail analysis of the middle-class American psyche, Alan Ball's script is a devastating attack. It is also extremely funny.

Daft the plot may be, but all concerned do a splendid job.