Search: Starring Fish

The strength of the film is its ability to suspend disbelief and engage the audience with its mastery of mystery.

Fisher has not taken the easy route, of creating Ben as pure victim to rage against the evil and conventional.

Supremely silly and really quite inventive.

I'm clearly getting far too old for this.

Their achievement, their adventure, their passion for football is admirable and it is this that drives the film.

Brody's concentrated performance, as a man who may, or may not, be going out of his mind, creates a tense, claustrophobic atmosphere that pervades the film.

Evan Schiff's editing is probably the best seen in any film of the past year, and Dan Laustsen's cinematography allows director Chad Stahelski to explore noirish landscapes without sacrificing the high energy vibe.

I can't really fault the action sequences. I can take issue with just about everything else.

Plemons’s performance captures the unease and guilt Mitchell feels, while reminding us that the agent is also putting on a performance during his meetings with O’Neal.

Lanthimos confirms his reputation as one of contemporary cinema’s most original and unsettling directors

Although at times it verges on turning into CSI Riyadh, The Kingdom is ultimately much smarter and better informed than most of its ilk.

Overall, King Of New York is distinguished from similarly themed films by its willingness to embrace the gangster genre's exploitative nature; it's as shallow as a puddle but it's riveting viewing all the same.

Carell is extremely impressive here.

An intense, perverse and profoundly disturbing film.

Built upon a variety of different perspectives, Guo's politically engaged sort-of documentary is more an episodic tapestry of suggestions than anything like a coherent argument.

Plotless, fluffy, pseudo-sentimental rubbish.

It’s a one-man showcase where Carrey’s shouty, motormouth antics are the whole dog-and-pony show

McConaughey works above and beyond his usual remit to remind us that he can also convey a formidable intensity and subtle sensitivity.

Looted is all at once a localised crime drama, a tale of a difficult yet loving father-son relationship, an exploration of escapism's price, and a social realist anatomisation of a community.

It feels middle-aged, lazy and reliant on stereotype.

At once a light satire on the perils of modern dating.. and an enjoyably absurd nod to more old-fashioned humour, writer/director Collington gets away with a lot because of the sheer energy on display.

Certain scenes feel too glib and stagey, as though they’ve been doused with pop video gloss – particularly the snow, which surely had its own assistant, make-up artist and trailer.

What James has tried to do is film a Hollywood Blockbuster on an independent British budget, and it shows.

Moore gives a frank and funny portrayal of female status at a certain age in the Dream Factory.

You are unlikely to see stronger performances in a costume drama for a very long time.

The first two acts are so strong, it's almost a shame that the invasion plot arrives, and things start blowing up real good.

Visually it is astonishing, not only because of its effects and techno trickery, but cinematically the Wachowskis are so audacious.

The second in the trilogy is less innovative and more windy in the speechifying department.

The Matrix Trilogy began with such energy and originality... now it seems more like an expensive video game.

It is described simply as “A Fable”, but there is nothing simple about this over-ambitious allegorical sprawl.

Abrams combines kinetic action sequences with internal logic-fuelled storytelling to give us an impossible mission head, shoulders and a rabbit's foot above the previous two instalments.

Edward Norton has taken risks all down the line and proves himself capable of unquestionable courage in storytelling.

The director (Clint) takes it easy, letting the actors walk through their roles in style.

Penn is powerful; Bacon is sharp; Robbins is troubled; Fishburne is alert. Having them here is a privilege and a pleasure

Dreams Warriors is not only one of the better entries in the series, it is also a thrilling fantasy-horror film in its own right.

Jones inhabits the character well, bringing his own brand of darkness and soulfulness to it.

It's just clever enough to keep you guessing.

This is a study of bitter, sorry people hurting each other using ancient memories, propelled like bullets via the power of fiction.

Occupation is obviously very low budget and deserves to be credited for its efforts to achieve blockbuster status on a shoestring.

Poonpiriya shakes the past and the present gently together, sometimes with a dash of nostalgia and, at others, with a splash of regret.

It disappoints on two fronts. The directors, Bobby and Peter Farrelly, love vulgar so much they can't be anything else and the complexity of the human body is too wondrous for a bunch of animators to figure out.

The concept of being trapped in solitary confinement for the rest of your natural is a goose bump reversal experience

Rodriguez's up-close, tightly focused direction means our eyes are always drifting toward the shifting focus of the background, hyper-alert for a shimmering Predator cloak.

Cone's characters are fresh and real.

A sort of naturalistic, unsentimental Brief Encounter.

The film is so preposterously overwrought and mundane that it's hard to imagine that writer/director Steve Mahone could overlook such obvious dullness.

Nye's adaptation is simply marvellous as he brings new life to the railway and especially everyone's favourite girl, Bobbie, played here by the delightful Rooper.

Cox delivers the best onscreen monologue seen outside of a Shakespeare adaptation for years.

There's no subtlety here. Follow the dots.

Often there is a concept that positively zings, but then has little follow-through.