Search: Starring Guy Pearce

Michod has created a deeply pessimistic but fascinating world lit by excellent cinematography and set to a moody score.

Its use of blood and slime and razor teeth is more inventive than a 12-year-old needs watch.

A past shines through another layer of the past into a silver screen present that is both familiar and brand-new.

When you're relying on cameos from Carmen Electra you should know you're in trouble.

Director Drake Doremus handles the material superbly, aware of its pitfalls and sensitive to all the vagaries of human behaviour which make these characters so intriguing.

Koolhoven wants all voyeurism of an exploitation flick while still expecting us to take his artistry seriously, and it's an unholy mix.

Berg's dilemma requires him to try and solve logical and ethical puzzles, and cannot be alleviated through the easy process of having him find Heisenberg likeable.

The film's biggest disappointment is that it just isn't very scary.

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

A ragbag of cliches that owe a debt to everything from Romeo and Juliet to THX 1138.

The film's only real crime is perhaps that it celebrates the life of Edie rather than Andy, and does that not particularly well.

While it's got some sections that are striking, it's a swing and a miss.

An unrelenting, absolutely riveting and often unflattering portrait of frontline action through the eyes of brave people doing their best to survive.

Danny Boyle brings his customary energy to James Graham’s adaptation of his own stage play, which flies along quicker than paper through a printing press.

Things do explode. Lots of things. The difference between this and the previous outing is that we care why they're exploding and about the people who are standing next to them when they do.

There's a noirish aspect to it which, in places, elevates it beyond run of the mill thriller territory.

Although there is a lot of humour, crowd-pleasing fun and some award-worthy performances, there seems to be a lack of edge and darkness here.

Compelling stuff.

What is unexpected in this self-conscious pander to the cult of genre cinema is the violence. It lacks the dignity of constraint.

An occasionally agreeable whiff of fromage isn't enough to excuse such amateurish film-making.

A complex thriller, deftly handled.

Cave's screenplay is full of rich incidents, impossible moral choices and, most of all, complex characters, brought to grimy life by the excellent ensemble cast.

This big-screen epic is immersive less for its binocular vistas than for their impossibly grand scale

Before the script goes belly up, this eating-people-makes-you-strong movie has an hypnotic fascination.

Bujalksi’s film, ambling on at a languid pace which would offend the five-miles-a-day Trevor, gets some mileage out of poking fun at the spandex set and their self improvement mantras, even if they are an easy target.

Only the gun speaks

Pure, stripped-down bleakness, both in the desaturated drabness of its appearance and in the last-days essentialism of its themes.

The flaws belong to the formula itself, not the argument.

Guy Pearce is a puzzling lead, at times desperately out of his depth, mostly getting away with it due to his skill at looking lost and miserable as he mumbles his lines and does a bizarre impression of Nick Cave.

Manages to build suspense and keep you engaged as the action moves across continents.

It's so predictable, you can practically guess frame for frame what's going to happen.