Search: Starring Dale Dickey

The main part of the action being presented as a fait accompli, it doesn't seem to matter all that much who the killer is.

As a snapshot of the influence parents bring to bear on their offspring it lacks engagement for the audience and takes the attitude that everyone watching should be enrapt by the self-importance Penn brings to bear.

While Ann can handle a knife, there’s a sense that her look might just as easily strike others dead.

The ‘bad guy’ really is the bank itself – or maybe the American Dream, a frothy notion that never had much currency here and is now bankrupt in the face of a recession.

Things do explode. Lots of things. The difference between this and the previous outing is that we care why they're exploding and about the people who are standing next to them when they do.

One thing I particularly enjoyed was that it balances its study of Will with an exploration of Tom’s coming of age, while never making Will’s decision to drop out morally clear-cut.

Walker-Silverman is in no hurry to reach that encounter and he makes slipping into the rhythms of Faye's day a thing of gentle joy.

Amenabar would need to regress his audience back to the early Eighties for this to have any sort of suspense.

Araki never digs deep enough, wasting the opportunity to expose her resentments.