Search: Starring Gene Hackman

This is a film which is both thoughtful and surprising.

The script is witty and the animation has moments of breathtaking imagery.

Coppola may have made films of a more spectacular nature but here he makes a virtue of a introversion - so that the film's horror moment is all the more vibrantly terrible when set in relief.

If you like thrillers high roasted, this will keep you awake.

There isn't a massive amount of 'action' per say, but Apted's expertly-paced tale throbs with genuine suspense as the net progressively closes in on Guy.

Friedkin's trend-setting handheld-camera gives a documentary-style feel, puting you right in among the tense surveillance and hunch-following legwork.

Aside from the fish-out-of-water angle not working, this is a decent genre thriller.

Over the years, people have tried and failed to be as cool as Travolta.

Even the sex goddess of all things Alien cannot inject eroticism into a plain script.

To watch actors work with such unity of purpose is a scary thing, like balancing between probability and deception.

The clear highpoint of Lilith is Seberg’s performance which carries the picture along.

All this would be thrills-by-numbers if it wasn't for Hackman, He has the energy and ability to make every part matter; he never freewheels.

Eighties-style conveyer belt mish-mash.

Stiller, Paltrow, Murray and Luke Wilson needn't have bothered. Their characters are stuck in ruts.

The production values and high octane performances make this an entertaining piece of hokum, although the sentimental denouement is a disappointment.

Remains unbeaten in terms of influence and iconic moments.

Without the shackles of an origin story, Superman II soars into action straight away.

The continuity is shaky (what do you expect?), but the new material is more adult, less camp and with a devotion to character and logic that Lester’s just didn’t have.

Though Superman IV carries the sub-moniker of ‘The Quest For Peace’, it’s more accurate to describe it as ‘The Death Of A Series’.

The film suffers from oldness.

Stephen Hopkins can't leave the arty flashbacks alone, destroying any semblance of tension.

Perfectly paced and beautifully shot, this manages to be both a successful piece of revisionism and a classic Western at the same time.

A middle of the road rom-com, with decent laughs sprinkled throughout.