Search: Starring David Warner

Feels like a film of two halves.

An interesting attempt at updating old myths to make them fresh and relevant to contemporary audiences.

First rate acting from Coburn and Schell is complemented by fine performances from the supporting actors.

The film is so well written that the magic realistic aspect of Helen's apparition in places where she could never be is acceptable as a plot device.

If you can tolerate the soft focus and picture postcard shots in return for a pleasant, feelgood movie, by all means go see it.

The character-based comedy mostly works as well as it does on the show, but the laboured and frequently infantile storylines make the film fall flat on its face when it's not half way up its own arse.

Taken as a whole, this makes a fine and entertaining six hours of viewing.

Gives the viewer the opportunity to work out, using the 'playfair' clues, whodunit.

Despite his illustrious career, Peck has never bettered his performance as the tortured father, torn between duties to his family and to the wider world.

It hardly helps having Mark Wahlberg in the lead. As charismatic as seaweed, he creates a new milestone in minimalist acting. It's called not acting.

The film has been unjustly vilified. It has a powerful impact, not only because of the violence, but because of its visual and emotional clarity.

The plotting is bold and deliberately structured yet, given the small cast and high drama of the set up, this is an oddly cold affair.

What raises Cameron's creation above costumed action spectacle is the quality of the writing and the chemistry of its juve leads.

The film races along with an air of tumultuous enjoyment.

The sun shines, friends are endlessly patient (if not always very understanding), and even during its bleak moments, there’s always the promise of a happy ending.