Search: Starring Connie Nielsen

The comedy and thriller aspects of the film don't always gel but the character work is generally strong enough to carry us through it.

It cheats so blatantly that the early tension, invoked through performance, interrogation and story telling is wasted.

Berg's dilemma requires him to try and solve logical and ethical puzzles, and cannot be alleviated through the easy process of having him find Heisenberg likeable.

A movie like this should be fun, or disturbing. To be neither means that two-and-a-half hours watching Reeves attempt a purposeful expression and Pacino play the diabolical charm card is a long time waiting for cheesy effects and naked bods.

Ridley Scott's 2nd century extravaganza dies during those pauses between blood, sweat and fear.

David Scarpa’s screenplay wisely keeps the political machinations on a slow simmer, so that they are easily followed and don’t get in the way of the nicely worked set-pieces Scott has in store.

By treating the script intelligently, De Palma is following Kubrick's example.

For all that there's some gold within it the real treasure is in playfulness.

It's a film that goes out of its way to provoke and disappoint, but to those who get its jokes and can cope with the rest, it's a delight.

The film has an individuality about it and yet looks like a store front studio product.

[DuVernay is] not here to tell people what to think – rather, she’s presenting them with the tools to start thinking for themselves and making their own discoveries.

There's an awareness here that's missing from many such tales, a more astute take on how disability and society interact.

What gives this film an edge over conventional rites-of-passage movies is its oddity.

When someone dies, there’s grief that feels real, as disorientating as any fever.

The plot is repro sans style. The acting is like an Amazon parcel, half empty

Sometimes a film is more, much more, than the sum of its parts.