Search: Starring Chris

Stephen Gaghan's script covers the territory with brutal honesty. The actors respond in kind.

There are no doubt those who would argue this magic-hour drenched vision of America through the 1900s is a bit too chocolate-boxy for their liking but the weight of tradition can exert an impressive pull and does so here.

It's fun. It's quite unabashedly so, which is something too many movies based on this sort of property are afraid of.

Ultimately, there is no depth to the drama and precious little soul.

Shot in square format, the film keeps us close, closed-in, forcing viewers into the same overwhelming intimacy that Kate is experiencing.

Though it's certainly a powerful piece of work, it doesn't always seem sure of its own convictions.

Refreshingly honest and unconventional.

Perhaps what makes Twinless so memorable is its ability to generate empathy for characters even as they set themselves up for disaster.

There is more world building here than in any other part of the trilogy, and the additional material means it’s better balanced with character development.

Much more of a natural crowd-pleaser than her previous works, this might be Morley’s most successful film to date.

This is a film about America's difficult relationship with race and the way that unresolved issues result in ongoing damage.

A deceptively smart, layered piece of work.

This film hinges on a powerhouse performance from Sheryl Lee the like of which has rarely been committed to celluloid.

Marion Cotillard tenderly lets us in on every nuance of dread, every vital decision.

Higgins film is at its best in the early stages, when brooding threat is mixed with Owen's general sense of confusion.

The film asks viewers of all backgrounds to make an empathic leap.

What appears to be the black version of Austin Powers, except without the charm, fun or decent one-liners.

Just how much pleasure can be gained from watching unpleasant characters beat on each other? Answer: Not much.

An accomplished feature about sin and redemption.

Unfolding without tension or logic, Untraceable doesn’t miss a derivative beat.

Each episode feels self-contained, allowing the viewer to dip in and out without having to watch in sequence.

Peerless as TV drama.

For a feelgood movie, the hives are stacked against it.

For long time fans of Firth, this is a wonderful collection of some of his best material.

Jarring and unsettling at times, this is a cut above most film debuts, for director and star.

When Petzold shows the broken mending again, the magic of cinema becomes the subject

An odd film which seems as likely to find admirers as it is to find detractors.

As a two hander, the film eases gently towards acceptance, even affection, until a melodramatic ending blows it to smithereens.

There will be someone, many, out there who will love it.

Maintains a fierce and continuous tension... like mainlining adrenaline.

By the time Frank and Chris are taking on the train - complete with running, dangling and some large chunks of that back story you had rather hoped they'd forgotten about - the tension begins to hum.

I went with the expectation that I'd see some good old-fashioned cyberpunk-inflected kicky-punch and was not disappointed.

Acting of this calibre can change the world, if only for a moment.

It is at times meandering and not a little mawkish, but its vivid primary colours conceal a great deal of shaded nuance.

With this cloying core, coupled with its phoned in central performances, Vacation can only rest on its vignette style stop-offs to save it, and they just aren’t strong enough.

Philippe Muyl's film is sticky through and through.

Screenwriter, Christopher McQuarrie and director Bryan Singer have done a terrific job of resurrecting the Seventies style of war film spiced up with the benefits of modern editing and special effects.

A distinctly anaemic confection.

The star is O'Donnell. As good as he is, he has the look of a lad on a gap year rather than the charismatic leader who might carry this through.

The sense of a community growing up in defiance of such nonsensical conservatism makes the second half hugely rousing.

Glen keeps a balance between the plot and the action that is believable.

Gentle, touching, amusing, terrifying, shocking and dramatic all rolled up into a beautifully shot and skilfully rendered film.

Portabella's repurposing and reimagining of the elements at Franco's disposal creates something genuinely (and appropriately) otherworldly.

This is the closest you'll come to experiencing the allure of fame and the power of illusion.

Watching it in the originally intended setting would be exceedingly cool.

In an era of almost infinite possibilities for entertainment, Venom isn't one to recommend.

The ensemble playing is on a level of communication that hardly requires a script, flowing like sick down the front of a summer dress.

Compelling viewing.

The best movie this wonderful writer/director has made in a long time; funny, sharp, perfectly paced and rather gorgeously shot, with a quartet of cracking parts for excellent actors placed firmly at its centre.

A painstakingly curated trailer reel that pays affectionate if sometimes wry tribute to a bygone chapter in the history of genre cinema.