Search: Starring Gillian Anderson

The film mixes shots of paintings in the exhibition with footage of the places which inspired them, some of which have changed little since. Some excellent work is done blending the one into the other.

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

That the whole thing works so well is a tribute to the po-faced matter-of-factness of the approach and the exuberant charm of the execution.

This is a long, slow and supremely well-written film.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

English is given more depth and there's a real story that doesn't depend on the central joke.

It is a brave film that portrays Idi Amin not simply as a monster, but as a complex individual.

Caine makes the most of the material on offer.

If you have a particular passion for the Gothic, you may find this film appealing despite its flaws.

In this way, Miyazaki avoids any simplistic 'message', preferring to present a more complicated dialectic on the environmental difficulties that continue to 'curse' us to this day.

The action also feels under-powered in places, with set pieces mainly reminding you of other, more accomplished Wallace & Gromit outings, while you long for a bit more of the Gruffalo's heart.

It is a well-observed portrait of the family ties that bind, but with insufficient narrative development to justify its length.

Marsh takes no prisoners, makes no apologies and kicks you when you're down, all of which makes his films dangerous, inifinitely watchable and almost unbearably surprising.

People are being shot everywhere you look

The climax of Adam and Alice’s vengeance becomes so extreme that it veers into black farce. As a thriller it’s tight and gripping enough.

Anderson and Einbinder are a terrific pairing.

There isn't a point where Ares feels fun.

Such an important story cannot be squeezed into 106 minutes. The politics are complex and the religious conflict on a Syrian scale of horror

The story boils down to a pretty familiar chase scenario.

The effects are fun, the script is sharp and suspension of disbelief encouraged.

It's been good. Maybe, it will get better when Scully breaks free.

Chris Carter and the creative team have done a magnificent job.