Search: Starring Colin Farrell

Kogonada is the directorial equivalent of a careful tea maker himself, he knows how to infuse his films with complex ideas without getting preachy or overtechnical about it.

There is talk of “hungry ghosts” and shadows but little of substance to show as the gambling cliches stack up like bad debts and the plot twists are signposted as brightly as the casinos.

Banshees is lifted by good performances, particularly from Keoghan and Condon, whose major scene together has a delicacy of emotion that is sharply at odds with the brute force McDonagh more generally employs.

This feels leaden, not just due to its length, but in the attempt to be heavy, to be worthy.

Coppola’s desire for a new “soft” approach seems to have emasculated the original material while failing to engross our senses with her storytelling techniques.

Allen's most morally challenging work since Crimes And Misdemeanors, this takes what is in essence a simple story and finds depths within it which will continue to haunt the viewer long after the closing credits have rolled.

Effective because it is so restrained.

Comicbooks are not about credibility, but what's going on here is far harder to accept than Clark Kent wearing funny underpants.

Anonymously directed, mechanical and unsurprising and is aimed at the indiscriminate lowest common denominator.

Dumb Men Dead would be a more apt title.

The early stretch strikes a nice balance between surprisingly mature human scenes and the soaring spectacle of the Leaf-people’s lives.

There is meat and crunch and intelligent plotline.

What's noticeable about Gillespie's version is how little really has to change to make it work.

To be frank, it's more awful than odd.

Jennifer Aniston is an absolute revelation, burning up the screen in her sleaziest and possibly funniest performance to date.

Cunningham's characters are credible and beguiling, and skilfully rendered by the cast.

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

This comedic and profane tale of not-so-cold-blooded killers seems to be the fusion of two movies, a very funny buddy comedy and a ruthless gangster thriller.

The delivery of the script is highly polished from a large ensemble cast with CVs running off the page.

Lanthimos confirms his reputation as one of contemporary cinema’s most original and unsettling directors

Lanthimos satirises our obsession with relationships and modern day electronic dating rituals although the results are not nearly as funny and knowing as the director clearly thinks.

Miami Vice is definitely style over substance.

Flashy future technology and architecture has been cleverly interwoven with the familiar, even the old-fashioned, to create a world which we can believe is not too far away from our own.

Epic, sprawling and inspirational.

It would be difficult to exaggerate the piffling absurdity of this film

Annie is played by newcomer Alison Barry, and she's amazing.

Schumacher uses split screens and visual wizardry to retain a breakneck pace.

While on the surface Pride And Glory seems to have cynicism coming out of every pore and revolves around the world of dirty officers, at its core it's actually a love-letter to honest cops.

This should be Farrell's springboard to the A-list, but the film isn't strong enough to hold his weight.

The end result, though well-mounted and featuring knock-the-soot-out-of-your-chimney performances from Emma Thompson as Travers and Tom Hanks as the movie mogul, feels more like a Disney theme park version of events than the real story.

McDonagh just about makes this ultra violent meta train ride all hang together.

S.W.A.T rhymes with R.O.T. Certain facts rise above the trivial. Not this one.

Whereas the original was a bright, primary coloured comic book, this looks more like a mobile phone advert.

Filmmaking that does not compromise for the sake of entertainment.

Performances by the two teenagers, Lara Belmont and Freddie Cunliffe, who have never acted before, are remarkable.

The story is a singular achievement, but the film is overly episodic.

Recent Hollywood heist films - typified by the Ocean's franchise - have been largely concerned with shiny surfaces, gloss and froth but British director Steve McQueen is much more interested in what lies beneath.