Search: Starring Ethan Hawke

Richet is at his best when moving quickly - he's a director in love with momentum.

A fairytale for old romantics everywhere, who believe that the weapons of friendship and commitment are as vital in the fight for a relationship, as love.

As Blue Moon progresses it becomes clear that the one thing Hart really wants is to be wanted.

The way the plot manipulates every worst case scenario is fiendishly clever. Seldom has an ensemble cast meshed so effectively.

This is a classic love triangle, depicting a man torn between a beautiful woman and the drug that first stole his heart. Hawke makes us believe it.

Intimate and insightful even in its weaker moments, Linklater finds strength and value in normality.

Has a brooding and moody power that makes up for what it lacks in originality.

A nice study in group dynamic.

Has enough bite. Just.

Sentimental and broad but well made and enjoyable.

Despite all the blood on screen, Fast Food Nation is a strangely anaemic movie.

First Reformed ends up being a satisfying meditative echo rather than a simple replay of Schrader greats.

The design has a stainless veneer, bathed in early morning light.

Rian Johnson's knife is sharper and more precise the second time out.

The actors (or director) clearly only have half a clue what they're saying.

Hawke’s writing is hot on the money, as close as you know to the false bravado and insecure hope of a lost boy.

The title might sound risque but the end product is as safe, cosy and unoriginal as a Now That's What I Call Music Christmas gift.

Original, explosive and dense with social criticism.

Director Rebecca Miller gets terrific performances out of an admittedly terrific cast.

The performances under Walsh's direction capture the fine splinters of motivation and the mystery that we all are to each other.

Gibney assembles interview subjects who offer a fascinating insight into how the Vatican functions behind its large exterior walls.

The John Ford cliches clang against the Sergio Leone sloppy seconds with the hollow ring of a church bell.

You genuinely feel how much his characters have faith in their gods and their folk tales as an extension of their everyday lives

Simmons is generally convincing but it's difficult for him to combine this with holding centre stage, especially in scenes alongside Ethan Hawke, who is cast against type as a low rent Tyler Durden and clearly enjoying every minute of it.

For all its flaws, The Purge is for the most part an exciting and thought-provoking thriller.

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

Hicks's use of flashbacks is ingenious.

You could be forgiven for wondering if Sinister is based on a true story.

The concept is good, but there are so many holes below the plotline, it sinks.

The fascination of Tape is in the performances and with the language, how words dance around truth, mocking it.

Whereas the original was a bright, primary coloured comic book, this looks more like a mobile phone advert.

The fact that Michael Almereyda's playful biopic doesn't quite fire on all cylinders feels more like a tribute than a failing.

There have been great police corruption movies - Sidney Lumet's Q&A comes to mind - but usually they are more subtle than this.

In less sensitive hands than Kore-eda's, it could have come across as cloyingly introverted but instead there is wit and warmth in the observed relationship between the two women.

A film that from its outset immerses you totally in the world of city Alpha, as well as the humans and aliens that throng its crowded streets.

There are moments when it treads dangerously close to pretension and self-importance, but the dream-like feel of the whole thing brings it down to earth.

There's half of a good film here, but Pawlikowski approaches his material in a way that undermines the rationale and our perception of the film's third act.