Search: Starring Chris

The narrative is so out-of-focus and the characters so unrealistic one cannot figure out exactly what universe the film inhabits.

This film has a degree of tension that few manage to achieve.

Catch one episode of this, and you are likely to be left in awe... catch more than on and you will start noticing the grinding repetitions.

After a slow and largely laugh-free start, this does build up a reasonable head of steam, with enough smart lines and well-timed physical comedy to keep its head above water.

The film is all words and attitude.

There's nowt of substance, or wit to last more than a 30-minute sitcom, but the script's tone is affectionate and likable.

There's an innocence abour Ron even when he is at his most obnoxious, and his dogged spirit in the face of persistent injuries, seemingly endless humiliations and Angela upping the ante is endearing.

Once the action gets going, it’s easy to forget that the plot has left for the planet La-La and just enjoy the fun.

Although an intensely personal document, it's possible to see inside it, the bones of wider tensions in society.

This film is sufficiently lacking in passion that one would struggle to believe the central couple love each other if they didn't keep saying so.

The Rainbow Experiment bites off a silly amount and manages to chew most of it with gusto.

A film of vital importance.

There's a creepiness here from the outset and no amount of dark humour can alleviate it; as the tension escalates grown adults will also find themselves hiding behind the seats.

Reach succeeds where it does largely because Clayton doesn't convince as a kid who's seriously depressed.

DiCillo's dialogue has a cynical bite and the story expands naturally from rejection to humiliation with enormous good humour.

The cast are clearly having such an immense amount of fun you really can't help but join them.

It’s refreshing to encounter a multiverse film that doesn’t mess about.

Rodriguez weaves an incestuous blurring of genres – now amnesiac psychodrama, now desert gothic, now grotesque slash-n-dash, now perverted tragedy - that is genuinely disorienting.

By halfway through you're beginning to wish the wolf would just eat the entire village.

Before the movie disintegrates completely - it makes Mad Max look like a classic - you can't help wondering how these Yanks fuel their war machines.

The ideas are presented in a crisp, unfussy way by James Ivory. He’s working with an intelligent script by Ruth Prawer Jhabvala, and two impeccable central performances by Hopkins and Thompson.

It might not be a Renoir, in either of the two historic senses, but it is an elegant and enjoyable drama filled with beauty, passion and a near sublime gentleness of spirit.

Reprise is difficult to watch. It demonstrates an originality and energy which requires control to make sense of itself.

Beneath the cover of portraying the generalised horrors of war, the film is more subtly critical of America's conduct in both the Vietnam War and the current conflict in Iraq.

Tarantino's talent for dialogue is what catapults Dogs into instant-classic status.

The Resident Evil movies have never been above looting from the cinematic back catalogue, and Extinction is no exception.

Director/co-writer Glenn McQuaid uses larger than life cinematic tropes as a means of getting at his subject effectively.

Wemple's command of a range of distinctive cinematic styles changes the tone between different sections of the narrative nicely.

Arkin fully inhabits the role, never once falling prey to the self-consciousness which is the downfall of many a film of this type.

Numerous small changes work together to change the character of the battle.

Don't expect enlightenment or character finesse

This new film, like all the others, has some of that old Woody sauce as well that gives it some charm, but it’s a mere shadow of its old self.

Schwarz...plays fast and loose with the facts, except where it comes to the combat scenes, which are brilliantly staged and also attentive to detail.

The set-up is formulaic, to say the least.

I'm trying hard not to spoil a film which has plot beats that are so obvious and familiar it might as well be blasting them out on bagpipes.

Despite some obvious cheese and more than a few slices of ham, this is popcorn of the best kind.

Energy, enjoyment and a refusal to be bothered by purist sensibilities make this a rollocking good adventure.

The camera is, literally, down with the kids, at their eye level, drinking in their mayhem, their laughter and their viewpoint.

The film's 15-certificate is a nonsense. The violence is ugly and relentless. The movie is ugly, too.

A hilarious, shocking, and in the end, moving film.

Gråbøl is superb throughout, recognising Inger as a complicated individual who has a lot more going on than just her illness.

The historical reality was as much about political as personal liberty, and the film reflects that.

This is inventive and fun. You can't ask for anything more.

At its most interesting when the robot-building team is in Herat, its hometown, the film addresses aspects of Afghan life not always noticed by outsiders.

This is not so much a study in stereotypes, courtesy of Jimmy Dean’s legacy, but a love poem to the restless, doomed, anarchic integrity of orphaned hearts.

Aniston... spends much of the picture grimacing and stroking her stomach, rather as if she is about to be ill. Perhaps this is because she realised she was now contractually obligated to finish the picture.

Undoubtedly a classy mainstream product.

The humour emanates from excellent rapport between Chan and Tucker.

It’s difficult to imagine the famously shrewd yet antagonistic Rustin being better cast.

The film is a genuine adventure.