Search: Starring Donald Sutherland

Gray's film is so visually stunning in places, you'll wish that Roy would pipe down a bit and let you enjoy it.

So flagrantly derivative are its set-pieces that it is a struggle to find anything original in the film at all.

There are some killer one-liners to enjoy here and lots of great one-off gags interjected in what is, to be fair, a very silly story.

Excels in not taking itself too seriously while offering a refreshingly imaginative collection of adventures.

All of this visual and intellectual discourse is tied together with two excellent central performances.

Caine's presence makes the difference between entertaining nonsense and a rattling good yarn.

Cruelly dismissed by critics in 1976, the film is as rich in visual imagery as any of Fellini's extravaganzas.

An ambitious plot implodes in the detail.

It is the closest thing to an artistic masterpiece in the field of computer generated optical illusion.

Ray Winstone really should have known better, though his accent – American Deep South via London East End – is possibly the funniest thing in the film.

The film is enjoyable enough, but unfortunately Kiefer Sutherland is not Alan Ladd.

Alec Newman is wooden to the extreme as Victor Frankenstein.

Ross avoids the hyperbole of gore and mayhem to keep the emotions of what is happening so near the bone it hurts.

It's easy to forgive the fact that nothing's happening when it's not happening around Jennifer Lawrence.

Jennifer Lawrence's expressions stretch from worried to confused

The plot stutters into absurdity

Gooding and Hopkins give it the works... pity the script lets them down.

A standard formulaic thriller, dependent upon technological gizmos, buddy-buddy performances and a totally unbelievable storyline.

Even viewers who have never cared much about show jumping, should be drawn in by how the movie deals with decision making, risk taking, self doubt, and family obligations

It’s quite a maze to pick your way through as a viewer and Stone does his best ease the path.

That the film is so close to parody is partly a mark of its sincerity.

The plot can sink without trace, which it does, because this is all about the stars

Watchable and competent, if ultimately unsatisfying, actioner.

Makes an important contribution to the conversation around sexual violence.

Unfortunately, the over complicated plot and plodding pace make this chapter of the world famous sleuth rather dull and frustrating.

'Pedestrian' is too racy a word to describe it.

Watching Panic is like tracing your finger around the blueprint of a roller coaster ride, instead of actually riding it.

This is the first time in ages - perhaps ever - that the hot-blooded delights of a country house ball have been shown to be fun.

Its conception seems stunted from the outset by an inability to engage.

Sandler turns in one of the most convincing portraits of a mentally ill person seen on our screens for years.

A geriatric adventure yarn that creaks with rusty sentiment and is as predictable as Meg Ryan.

The action sweeps you away.