Search: Starring Chris

Jucy may at times take on the ramshackle amateurishness of the play in which Jackie and Lucy appear – but it more than makes up for this with an enthusiasm and vibrancy that ensures its judiciously brief duration breezes by.

The film has adventure at its heart and excitement in its pocket.

It’s nonsense. Tolerable nonsense, but nonsense nonetheless.

Just Friends is less crude than many films of its kind and even made me laugh.

The film oozes bad taste like pus from a poultice.

The jokes are overplayed and feeble to the point of embarrassment.

Squarely aimed at a student demographic, the entire affair plays out like an episode of Scooby Doo on acid with the added fuel of frequent sex.

Jerry Bruckheimer... has no experience with children's films and it really shows here.

This is a film that you respect, rather than enjoy.

Keep The Change tells an intricate love story, featuring people we rarely get to see on the big screen

Despite the subject matter, it is remarkable there are almost no puerile toilet jokes, with most of the laughs coming directly from the characters and situations.

The film stays just on the right side of knowingly self-aware, excusing the major flaw in its basic premise without getting too smug or annoying.

Wadlow's sequel flails about like a bar room drunk in a brawl - despite hitting out in all directions, very few of its punches strike their target.

As a study of the mirage of celebrity and the emptiness of fanaticism, Kicks is frank, insightful and hard-hitting.

An ace script and excellent performances.

The moments of satisfying personal drama and suspense are built slowly rather than thumped out with high intensity.

Although at times it verges on turning into CSI Riyadh, The Kingdom is ultimately much smarter and better informed than most of its ilk.

Lowell and Mortimer’s cinematography is excellent.

The film is well made, without being innovative.

Heart strings are taut for plucking

Ava Gardner's charisma fills the screen to suck us in like cigarette smoke.

David is stubborn in ways that still retain sympathy, even from Nikki, thanks in no small part to Crawford's portrayal, which has a naturalistic looseness that springs taut just at the right moments.

Absence of innovation will please traditionalists.

This film puts its cards on the table from the start, but plays them with a light touch.

Overall, King Of New York is distinguished from similarly themed films by its willingness to embrace the gangster genre's exploitative nature; it's as shallow as a puddle but it's riveting viewing all the same.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

What matters more is whether this mixture of stunt riding spectacle and tongue-in-cheek works. Surprisingly, it does. Almost.

Malick and his cinematographer Emmanuel Lubezki, if nothing else, deliver stunningly beautiful vistas and backdrops for his narratives and characters, yet like the characters, there seems to be something empty at its core.

As a whodunit, the film is fun and forgettable.

Molocco’s performance is excellent and will make viewers feel for Molly even if they have no experience with this type of situation.

A film doesn't have to have a message, or a moral; indeed if its only motive is mercenary then that's fine, as long as it entertains. Kraven just doesn't.

Full of invention and not so tight on construction.

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

Knightriders represents the venerable director’s most personal and intimate work.

It's the coolness of K.I.T.T. (and the Hoff's MASSIVE hair) that made long-lasting impression on the world.

Although there are no truly outstanding performances, neither are there any weak ones in what is essentially an ensemble piece.

Zam Salim's direction and control of his short tale is exemplary

It makes you want to pick up the scriptwriter and throw him at a concrete wall.

The Taviani brothers are known for their honesty. They do not compromise with your sentiments.

Into this miasmic mess of muddled make-believe stumbles mathematician Stephen Ezard, surely the most inept protagonist ever invented.

Carell is extremely impressive here.

The convoluted narrative constantly conflicts with itself and could never actually add up in real life.

This is almost a chick flick for guys.

Funny, thoughtful and self-aware, he is a wonderful raconteur with a fabulous turn of phrase.

Rebecca Chaiklin and Donovan Leitch's documentary is a sobering reminder of what it feels like to be disenfranchised, young, poor and mute in what many commentators call 'a police state'.

Though the destination of The Last Station holds some interest, much of the journey is far too dull.

From the opening scenes (which have genuine shock value), the drive towards a finale is uneven at best.

Once it has established itself it unfolds with an almost metronomic inevitability, but for all that, for all that, it still satisfies.

Sharp scripts and decent plot twists mean the series is well worth a watch.

A must-have for crime drama junkies.