Search: Starring Gary Oldman

It is as though all the moral ambiguity and mean-spiritedness of 1970s cinema had never died.

Nolan has gone beyond DC Comics into a psychological no-man's land where lessons can be learned.

The set-pieces are sporadic – but always exciting and kinetic.

Coppola's aesthetic is all about excess and lacks the self awareness that let Hammer Horror films get away with this.

There are two stories running side by side. When they reach the junction they collide. It's a Hollywood disaster

There's the sort of amount of material here that used to form the basis for an entire series of The Shield, so even with a running time of two hours, it's difficult for anything to be dwelt on in detail.

The ingredients are here, jumbled up, too confusing to fit the restrictions of a single screenplay

The enhancements here come, not to the source material but to the look of the film, which is beautifully rendered in immersive 3D.

There is an awkward balance here between the focus on capturing real events and a clear desire to play to the gallery.

Distrust is a dangerous and volatile thing and Reeves' film shows how it is this rather than grandstanding gestures that often lead to conflict.

An outstanding achievement: a rich, dark and complex movie

One can't help but think that there's a great film in there struggling to get out.

The film is ludicrous and wonderful. It has genuine eccentric conviction.

It's essentially the Gary Oldman show. The young actor gives a stunning, tour-de-force performance.

The Order Of The Phoenix is the best in the series.

It's such a pleasure to see a real children's film by a real filmmaker.

A high octane, low credibility caper

Reynolds has proved he's the king of dry delivery in everything from Deadpool to Pokemon Detective Pikachu but even his comedy Kevlar can't protect him from this script.

Compelling stuff.

The effects and the action and the creatures are fine. The script dies out.

This is a film that lets words sizzle more than anything.

A powerful, hard-hitting drama which simultaneously manages to be one of the funniest films of its era.

Every theatrical device in the book is here and everything that makes a film interesting is not.

By halfway through you're beginning to wish the wolf would just eat the entire village.

Ditching the satirical elements for a more straightforward sci-fi 'issues' approach, Padhila goes for a more serious minded investigation of the man-machine control conundrum.

A story like this could easily have been utterly bleak, despite the powerful music. It is to Cox's credit that he packs it full of energy and humour that keep one gripped right up until the end.

Another victim of the style over substance genre.

The cool colours and muted emotions of this John Le Carré adaptation fit the 1973 Cold War backdrop perfectly and are appropriate for the murky world of moralistic shades of grey.

The script is bland and unimaginative, giving the actors little room to give personality to their characters.