Search: Starring Chris

A tighter focus on the misery that drives people may have made this a more indispensable glance at the industry, but for anyone with a love of comedy, it’s sure to harbour a few gems.

Bratt delivers the performance of his career.

As a road movie it is surprisingly static

The Mist has to introduce its beasties very early – and herein lurks the problem.

Plotting is afoot, so that the spirit of the Eighties is embraced and royally sent up.

Bale's performance is superb, his devotion to the role scary.

Formulaically funny and kids will adore every derivative minute.

In a day and age where the majority of television is frustratingly geared towards impatient audiences, a show like Mad Men is a refreshing experience

The performances have a raw naiveté that cuts clean to the truth.

While the narrative is straightforward, it's the textures encountered along the way which make it sing - from the make-up and performance of the Jan Bijvoet as pure-hearted Pierrot to a perfectly framed shot of a violin hanging from a tree and the often mournful brass scoring.

The John Ford cliches clang against the Sergio Leone sloppy seconds with the hollow ring of a church bell.

The film avoids the easy route to Clicheville and stays on the dark side of the road.

The first two acts are so strong, it's almost a shame that the invasion plot arrives, and things start blowing up real good.

Not only will it insult your intelligence, it will poke your intelligence in the eye and steal its wallet.

Uneven, but never less than entertaining.

The film resembles a schizophrenic's acid trip - viscious, paranoid and out-of-the-box.

An amazing piece of work.

It is gorgeous, both to look at and to listen to. It's perhaps Larrain's most accessible film, though that's as much to do with its star as its subject.

One can view it as trite, a Godard cast-off, or one can admire the cinematic poetry, the precision with which it delivers its point and its critique of the institution of marriage.

As a moody, atmospheric study of paranoia, it is hard to beat.

An incredibly powerful work.

Has the courage of its convictions.

Besides the always outstanding Trine Dyrholm, Sofie Juul Blinkenberg is the revelation of this film because her scenes dip the screen into a clear virescent pool of elemental longing for unspoiled credence.

Sydne Mikelle is good in the role and does her best to keep her character believable until the closing scenes, when that would be beyond the ability of most seasoned thesps.

There are some truly egregious puns, which some (mostly adult) viewers will despair of whilst other (mostly younger) viewers will consider to be the best thing ever.

There’s a sweet, melancholy flavour to Clapin’s work.

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.

Jacob Oostra's work in sound design is part of an overwhelming naturalism, an intimacy of sensation and a sense of intimacy.

As a personal and political masterpiece, Mephisto has few challengers.

Bowie and Sakamoto acquit themselves well, their otherworldly appearance and rougher edges in acting ability feel quite appropriate for the characters they are playing - outsiders.

There is nothing erotic about any of it and an 18 certificate seems overzealous.

Whit Stillman's screenplay is a lesson in tact, wit and modesty.

Bong loses the thread in numerous half-baked sub-plots whose inflation takes its toll on the bloated runtime.

This is one of those films where you wait for someone to fall off a horse.

The entire tenor of the film is downbeat.

Sprinkled with a heady dose of magic realism, this film is lovely.

With a moody jazz score full of languorous clarinets, this is a long cool drink before the unseen war.

Has an interesting script by Murray Watts, a wonderful sense of place and an imaginative use of flashbacks, where a painterly technique emulates memory.

I was won over by the whole approach of this confident sophomore feature pretty early on, from the witty, frank but also very tender script to the great casting and performances.

Filmed with a dark sense of brooding.

If it wasn't for Neeson, this would have yawned itself into unconsciousness.

Overall, the film doesn't quite achieve the level of dramatic tension it should.

Mayhem ensues - occasionally too much of it

The tension is too tight to touch

It’s an uncomfortable watch, as we stay close to its troubled central character. The challenge to viewers is to see what she’s missing.

What makes this film stand out more than anything else is Ambros’ stunning editing.

While the film does rattle through these pillars of the underdog sports movie narrative, it does so with an element of class, a helping of humour and a knowing wink.

An efficiently diverting thriller.

Construed by some as a blatant feminist sympathy trip, Theron's performance is a tour de force, picking up Jenkins's contentious baton with extreme gusto.

It is strongly advisable that you have sushi to hand.