Search: Starring Fish

Kevin Spacey is really the highlight of the film. Every scene he's in springs to life, his laid back performance blowing the younger cast out of the water.

This is all about building on a blueprint of predictability and then going for the heartstrings as much as possible.

Small of scale but big of heart, Ant-Man And The Wasp is a light and charming outing for a staggering film juggernaut.

Anything Else is a breezy comedy, full of funny scenes and classic Allen one-liners.

Undoubtedly, a masterpiece, this three-and-a-half hour version puts body on the flesh of what was already a great movie.

Clips along at a fast enough pace for you to avoid noticing its flaws.

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

Laugh out loud funny and heartbreaking without resorting to neat Hollywood set-ups or resolutions.

Never could the warning, 'Stay away if you're easily offended,' be more appropriate.

Extremely well done.

Headland revels in the comedy of discomfort and keeps the one-liners coming, while still sticking to - and sticking it to - a romance plotline.

Like a mutant monster, barreling out of control and straining to contain its own shifting form.

Hollywood is full of tales of people like Moondog who discover the true meaning of life when they get sober. Korine isn't that naive.

Green's richly detailed documentary is a portrait of a remarkable woman, a love letter to early cinema and a fascinating detective story all in one.

From the outset, Biker Boyz feels like every sporting film that has been before.

After we take aside all well-intentioned intellectualising, and all the nice-looking shots, what we have are almost three hours of over-aestheticised torture.

Comes close to redefining cool.

Estevez uses Bobby’s words too much, but you can’t blame him, because Kennedy’s compassion and sympathy for the underprivileged shines.

Fisher and Wood achieve a great rapport, and there’s some entertaining supporting work even though much of our time is spent in the middle of nowhere.

Though likely a little too whimsical for some, Boys Go To Jupiter seems destined to develop a cult following.

The iconography of the feminine is twisted into something deadly.

Brake is an undying sequence of storytelling gimmicks.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

The camera drifts through it at a leisurely pace, back and forth, up and down, taking in different details one might when wandering around drunk or half asleep. From these, story and meaning gradually coalesce.

Fishburne would be watchable even in a washing powder advert and for as long as he's on screen the film just about holds itself together.

After a compelling start and a long, immersive second act, sadly Contagion starts to peter out towards the end.

How it feels to take credit for something you haven’t done is one of the questions Coup! invites us to contemplate.

The anatomy of CSI remains hale and healthy and is, in the ninth season of the show, arguably strengthened by the loss of old characters and the introduction of new ones.

I can hardly remember a movie more spectacularly ill-timed.

Tawdry and shamelessly manipulative.

Much of the story is smoke and mirrors in terms of fact, but this is pitched more at romance fans than Houdini addicts.

Not as sophisticated a film as it likes to think, but it does the basics very well indeed.

The movie hangs loose on your bones.

Once or twice the CGI at least has the element of surprise on its side but any time we're asked to look for more than a moment at these digitally created animals, it ruins the realism.

Julianne Moore, as Sarah Miles, is a revelation.

Way too inspired for the end result to be intentional.

Evil Dead Rise doesn’t add much that’s new to the franchise, but it does deliver on entertainment.

The film's main problem is that it's a good 25 minute short padded out to an hour and a half.

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

As compulsive as a 40-a-day fag habit.

It's A Trap! is unquestionably Family Guy's best-looking Star Wars special (and the first to be made in widescreen), but... there are just too many lazy jokes.

The strongest scene in this film involves video of the interrogation of a 14-year-old with an expert explaining how psychological traps are being set as they appear.

While the gags are aimed squarely at a family audience, there’s nothing wrong with that and this is certainly a film you could take even tiddlers to without worrying they are going to have nightmares later.

It's in the messy business of definition that the film starts to explore where things end and things begin.

The deaths are gory and elaborate, certainly, and the effects aren’t bad, but it’s nothing new.

Flashback seems designed to allow multiple simultaneous interpretations.

As with all comedies about ineptitude, there must come solemn moments of triumph; but, for once, this time they don't come soaked in schmaltz or get undermined by a instant gag.

The closer Luhrmann stays to the spirit of Fitzgerald and the more he trusts his cast, the better the result.

While the cast is odd they all do their best with what they're given, and in some cases their best is more than what's deserved.

Feels as if it has been lifted wholesale from an after school special.