Search: Starring Eric Bana

Scott surpasses himself. The visual quality of the action sequences is exceptional.

Robert Connolly successfully delivers a story which has enough nuance to keep adults from getting bored whilst remaining accessible to younger viewers.

As a portrait of a psycho, this is dangerously close to the bone.

Plot black holes quickly emerge and start to suck all believability out of the film.

There's also enough mystery retained to allow a viewer the satisfaction of perhaps being just a moment or two ahead of the film's revelations without making them either overly obvious or obscure.

Ruzowitzky bobs and weaves around the cliches in ways that lift Deadfall above many of its genre contemporaries.

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

A functional disaster-cum-rescue film with a glut of special effects.

The film lacks strong enough dialogue to do justice to the boldness of its script.

The truth is that this genre mash-up attempt ends up feeling more unintentionally hilarious and hysterical than impressive or refreshing.

The first thing to say about the film is that it looks stunning. The second thing is that it takes forever before transformation time.

One of the dullest films about war ever made.

Non-car people will find themselves forced into the position of disengaged anthropologist, observing all the vehicular bump and grind without gaining any real insight or emotional connection from the experience.

Though Barrymore isn’t terrible she pales in comparison to Bana’s raw presence and Duvall’s subtle talent.

Exquisite attention to detail that creates not only a complex portrait of each of the main characters but also a vivid sense of place.

Elliot time and again marries darkness and light, sweetness with sour to create a satisfying emotional umami.

By positioning itself carefully between the imperatives of retaliatory justice and their fearful consequences, the movie is ultimately less a political thriller than a mesmerizing study of psychological breakdown.

Portraying a woman of such character is no easy task, and it's unfortunate that the task has fallen to Natalie Portman.

Builds up an emotional head of steam that draws audiences towards it.

JJ Abrams rescues Rodenbury's creation from the pop culture scrap heap and produces a very likeable romp.

No more than fleetingly touching, rather than achingly romantic.

Ultimately, there is no depth to the drama and precious little soul.