Search: Starring Danny Dyer

Clarke has range and talent.

Like the world it portrays, The Business can be criticised as superficial and derivative, but it accurately depicts the headstrong, cheesy glamour of the period.

Far too straight-laced and uptight to appeal to fans of either genre.

It's somewhat pedestrian, predicated on decisions that appear ludicrous, and its smartest observation might well be an accident.

Doghouse offers a lot of shouting, a ton of gore and a male wish-fulfilment fantasy where all women really ARE nothing but trouble and the only way to deal with them is to hit them round the head.

Probably a fairly accurate, if brutal, insight into the lives of a group of middle class thugs trying to fill a void in their dull meaningless existences.

I’m at a loss to see what Thomas Clay’s point is.

The news that the movie is 'based on real events' does not alter the tedium of the thing.

Comparisons only categorise originality and this one stands alone.

The off-kilter predicaments at times feel like increasingly disconnected sketches and the narrative, for the most part, just wanders along as wide-eyed and disorientated as Alice herself.

The film is so predictable, you could lay bets.

Love’s approach is consistently fresh and, until the end, when things fall apart a bit, surprisingly original. The writing here is taut, concise and as lean as a whippet.

Good writing and committed performances.

The climax of Adam and Alice’s vengeance becomes so extreme that it veers into black farce. As a thriller it’s tight and gripping enough.

The performances by mainly young unknowns are excellent and the script is the best Boyd has done.

Arnold has never been one to shy away from the realities of poverty and that clear-sighted view is in evidence here.