Search: Starring Harrison Ford

A handsome and suprisingly sturdy undertaking that explores the insidious effects of racism with a sharp eye.

Undoubtedly, a masterpiece, this three-and-a-half hour version puts body on the flesh of what was already a great movie.

Burgundy's ability to survive cockups on an industrial scale is impressive

It is Blade Runner.

It is among the most unwavering make-believe worlds I have ever seen in cinema... I can only wish the film's story lingered anywhere near as much as it's artistry.

Beg, borrow or steal a ticket to see it on the biggest screen you can find.

There comes a point where ingredients stop being a recipe and start resembling a shopping list.

There are several kinds of thriller nested here.

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.

With so much good work involved in the cowboy side of the film, it's a real shame that the aliens appear to have been hastily sketched on the back of an envelope.

Ender's Game is a cut above a lot of sci-fi action films for teenagers, confronting them not just with special effects, but with a decent debate concerning the morality and politics of war.

You get what you pay for with a little bit of humour to lubricate the violence

Tears will be shed as you watch.

A creaky thriller with less suspense than Reese Witherspoon and an awards ceremony.

Because of a multitude of sub-plots, the main one gets overlooked, until suddenly there's a car chase, or guns go off.

There's a difficult place between homage and pastiche, between nostalgia and the new.

As each of the Indiana Jones films has demonstrated, iconic talismans from the past can still conceal an awesome power.

Ford is charismatic as ever as the whip-wielding hero, looking eternally hard-done-by but always up for more.

This second part of the Indiana Jones trilogy is undoubtedly its weakest link, yet it contains a number of classic scenes and some first class thrills and spills which will appeal to audiences of all ages.

It is always wonderful when a film about a writer you admire produces sentences - be it in dialogue, commentary or excerpts you overlooked or forgot from the published texts - that are so poignant in the here and now and feel brand new.

The film is well made, without being innovative.

It is the duality in the myth that makes Milius so fascinating, regardless of what you think of his politics.

Presumed Innocent has all the ingredients of classic noir and plays out as a courtroom drama that hinges on the complexity of its characters.

Scott Thomas is a revelation. Few actors work from the inside out with such delicacy and focus.

Demonstrates what an action movie ought to be.

Delightful to watch.

A sense of having been here before, as well as the suspicion that Ivan Reitman keeps everything light and frothy for commercial reasons, nags at the pleasure.

Few can deny the great storytelling of Lucas' true first episode of his space-opera.

It is a spectacular, brilliantly realised piece of moviemaking

The best-looking and orchestrated space battle ever committed to film.

This is perhaps less a swansong than a familiar sunset

The Force Awakens manages to stop one thinking about how disbelief is suspended and instead carry one along.

The best thing that director Robert Zemeckis does in this tribute-to-Hitchcock is create a feeling of unease surrounding Michelle Pfeiffer.

Its deft handling of feminist issues make it all the more ironic that it has been dismissed as trivial when in many ways it's the female equivalent of Wall Street.

A patient, affecting study of human connection in unusual circumstances