Search: Starring Chris

McCarthy is a revelation.

It feels like you're watching the trailer for the much better movie you wish they'd made.

If you're a fan of Marvel's cinematic universe, you absolutely cannot miss this instalment.

Nicolas Cage plays against type, retaining his movie star persona, which is not the same as being convincing in the role of a man who lives for opera.

The premise questions our storytelling conventions.

A nice study in group dynamic.

Becky Parsons and John M Tran's cinematography brings out every detail of the crowded rooms before us and puts us to close to the grain of the wood that we can almost smell it.

Unlike many of his other films where there are underlying touches of humor, Polanski plays this one more as a straight comedy.

Mackay succeeds where [others] have failed partly because there is a deep vein of sincerity beneath the playful surface of her work.

The Cars That Ate Paris is no ordinary horror film.

How much of this is about Casanova? How much about Malkovich and his continuing public self-examination?

By focusing on the journey of how a spy becomes the Bond, James Bond we all know, the movie manages the impossible task of coping with all the baggage laid before it and reinvigorating our interest.

Spiro Nino's exquisite cinematography makes the most of the crisp mountain light and contributes to a fresh, sophisticated ambience, but by the time we reach the finale we're in classic Gordon-style horror territory.

The film struggles to create the emotional resonance needed to connect with vulnerable and troubled characters.

It's never dull and always looks good, although the Sixties have become the Fifties - not a hippie, or civil rights marcher in sight

It’s astonishing to realise that this is Reis’ first screen role.

No amount of flashy effects can cover the weakness of the story.

The central premise takes a little swallowing, but... Cellular is a lovely modern B-movie, with hi-tech gimmickry.

Remarkably adept in balancing audience sympathies and bold in its refusal to choose the most easily justified routes for its characters, The Charmer is a powerful piece of cinema.

It’s really Kurylenko's work that gives the film its emotional core, but action fans need not worry: she still delivers some impressive kicks, and gets to jump away from a petrol explosion.

The real appeal of A Christmas Karen lies in the fact that there ain’t nothin’ like a dame, but US culture has never really seemed to know what to do with such women.

Touching, compelling and full of humanity.

There are some truly horrific stories here, including several involving the rape of children, and some viewers will consequently find the film too distressing to watch. Its overall message, however, is one of empowerment and self-realisation.

City Of The Living Dead lacks the sophistication of Fulci's later films about Hell, coming across as significantly more camp, but it still has plenty going for it.

Spiky, insightful and joyously unapologetic.

The message seems to be: you have permission to enjoy yourself - just please, please don't try this at home.

While it's good to learn from your own mistakes, it can be significantly funnier to watch someone else's.

It should be pretty clear from the outset whether or not this is your sort of film.

It's well directed but even if most of the cast weren't phoning it in they would have real difficulty eliciting sympathy.

Though this is a funny, engaging film, I found myself asking how much of it is in good faith and how much is deliberate hyperbole for the camera.

Corpse Bride is even better than The Nightmare Before Christmas. It displays the imagination of a man, haunted in childhood by the Brothers Grimm, with a twisted sense of humour, steeped in 19th century romanticism.

Rather than following somebody raised a girl who is learning to live as a boy, it's about a boy who, all too quickly, has to start learning to be a man.

It's an almost entirely true story, apart from the lies. It's great.

Bull knows what he's doing when it comes to the action.

Everybody is glamorously dressed and there’s a lot of screaming and running about.

What the film achieves with very little money is the pathological journey from hope to hell.

The sensitivity of Lee’s performance helps to draw out the ambiguities in Shelley’s work, and the moral complexities which, acknowledged or not, are a critical component of the story’s staying power.

The complexity of this multigenerational chiller is difficult to follow and sinks into the darkness of the waves.

The writing is so sharp and rapid-fire, and the performances so charmingly self-lacerating, that you will be happy to spend time in these characters' company.

Perhaps most impressive of all is how the themes of ambition, friendship and life-affecting decisions are dealt with without resorting to mush or cheesy-sentiment.

An engaging, riveting watch.

It's a slick and intoxicating vision to say the least.

The effect is a bit like being at a party where you can choose which conversation to tune in to.

Screenwriter Bill Condon and director Rob Marshall have retained the spirit of the original.

The film is a kind of torture.

Alas, the writing lets both film and actors down tremendously.

The film loses direction very quickly, and after about 20 minutes, the characters and the situations grow quite wearisome.