Search: Starring Ewan McGregor

This film explains why the public are so reluctant to fund universities.

We witness the best ensemble acting in a film with actresses in leading roles that Hollywood has produced this year.

The script is weak, relying heavily on travelogue-style scenes of Earhart’s flights, passages from her diaries and newsreel footage and headlines.

McGregor's character paradoxically gets too much and not enough. Swede feels clogged with sentiment for his daughter, with little room for other emotions.

A refreshingly intelligent entry in the romance canon that also takes a wide ranging look at human relationships more generally.

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

The acting and the visuals are of the highest order, especially given the sensitive and personal nature of some of the revelations.

You see the money on the screen, which is good, but not the love

Something has happened to Tim Burton. The darkness has left him... The film fails on every level.

Allen's most morally challenging work since Crimes And Misdemeanors, this takes what is in essence a simple story and finds depths within it which will continue to haunt the viewer long after the closing credits have rolled.

As a thriller, a piece of soft porn, or a character study, the film is room temperature.

When the rubber meets the road of The End Of Oak Street it doesn't quite grip

Elliot's script is pretentious and preposterous.

What does it mean to be a real boy? Perhaps the answer doesn’t lie in flesh and bone.

A suspenseful, intelligent thriller.

Soderbergh lays the pretension on thick in flashbacks to the Barcelona job that is clearly at the root of her problems, with slo-mo here and black and white there doing nothing to distract from the fact that it has all the substance of a chocolate bar adv

The charm levels are high

Fast, furious and Calvin Klein-ad slick.

Director Juan Antonio Bayona spins the focus in on a single family caught up in the disaster, personalising the horror and bringing it home in unashamedly melodramatic fashion on its very own tidal wave of emotion.

If a member of cast could save a film, Michelle Williams would be the person to hire, since her central performance in this muddle of a movie is the only thing that stops it being unwatchable.

What makes it work is that the film sticks so close to the form of a traditional Hollywood romance, ignoring the tropes of gay indie cinema.

Westerns require action and pace not brooding silences and broken dreams

Jackboots On Whitehall isn't afraid of stomping on a few tender sensibilities and its smut level is set to 'stun'.

García's cautiousness clogs up the human drama.

Potter succeeds here in providing a truly imaginative and artistically inspired piece of television and, while the series eludes the tangible success of his previous work, it embodies some of his best writing and brilliantly creative verve.

In places the film feels skeletal, the bones of the story barely covered, let alone properly fleshed out.

While both McGregor and Diaz are watchable enough as a likeable loser and a redemptive bitch, there's never any sense that they're 'made for each other'.

Cheadle attempts to give us the feel of the man rather than the real essence.

An enjoyable if uneven feel-good swipe at both US military and human endeavours.

Renée Zellweger inhabits the role of Beatrix with the warmth of a fluffy bunny and the perspicacity and determination of a woman artist struggling to be recognised in a man's world.

McGregor's charm seeps through, however hard he tries to surpress it.

You have to know your enemy. If everyone is an enemy, where's the tension?

There's an awareness here that's missing from many such tales, a more astute take on how disability and society interact.

Robots has a glittering voice cast and astonishing CGI animation and yet is over endowed with too much of this, too much of that and too much of everything.

You wish movies told the truth a bit more. Neeson as working-class hero doesn't wash.

Blunt and McGregor do what they can but they, like their characters, are swimming upstream in a river of syrup to a soundtrack that came from the drawer marked Now That's What I Call Celtic.

Light and dissatisfying.

It's a pity the plot doesn't offer more in the way of surprises

Danny Boyle directs with the right balance of tension and wit, never forgetting that violence begets violence as one thing leads to another.

The dialogue is carved in marble, as if the power of speech never progressed beyond Ronald Reagan and the art of the autocue.

Where is the magic?

Revenge Of The Sith is a reminder of what made the original trilogy so good; character driven stories, along with a pot-boiling plot keeping things in check.

This is perhaps less a swansong than a familiar sunset

Not so much a thriller, with an unexpected twist, as a schizophrenic character study, a portrait of the artist as a disturbed young man, still exercising his creative imagination to the very end.

The film will appeal perfectly to its age group. There is nothing too violent and nothing too serious.

A unique piece of cinema, superbly performed and dangerously directed

Its comedy leaps barricades.

This one's a little bit more for the kids, as far as funny goes, but if that's a bit of a turn off, think of it as a good way to introduce youngsters to an important part of British history.