Search: Starring Idris Elba

28 Weeks Later... makes for scorching horror. Like the original, it offers a perfect blend of well-drawn characters, political allegory, grand guignol, flesh-crawling tension and very fast-moving zombies.

Save your grey matter for coordinating the movement of your hand to your mouth, or your jaw to the sticky cinema floor.

Almost every action movie nowadays borrows from every other action movie and this one happens to be done incredibly well.

There's some fun to be had with the action sequences when the mayhem starts but there's quite a lot that is just plain silly.

There is a whisper of the artwork of EH Shepard about the hand-drawn style that seems fitting given his tale shares similar philosophy, albeit more obviously spelled out.

The result is a gripping, disturbing experience, though one which risks numbing as much as it informs or shocks viewers.

Balance is the thing and Stanton and MacLane know when to use a well-timed piece of slapstick or visual gag to cut through sentiment.

Cage here continues the recent return to his legendary loony best.

The story lacks originality

Everything is elevated to an almost cartoonish level, but the performances are big enough to carry it, with Elba maintaining a calm presence at the centre.

It’s ridiculous to have a Russian director who obviously has strong opinions about Russia and especially about the Russo-Ukrainian war make such a tone-deaf film about the Russian threat.

In A House Of Dynamite the uncertainties are propulsive, what we learn unsettling. Each tick of the clock reorients our understanding of the same events.

The film has adventure at its heart and excitement in its pocket.

The real star here is creator Eromose.

Clichéd archetypes these characters might be, but the cast playing them are immensely likeable and, most importantly, funny.

The film touches the corners of the envelope without revealing what is inside.

The tension is too tight to touch

The battle scenes are nothing short of astonishing.

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

Gives 300 a run for its money as one of the funniest films this year.

Entertaining and stylish.

Nadine Marshall delivers a performance of quiet intensity.

Mostly harmless.

Unlike many adaptions it does want to have fun, worrying less about being pixel-perfect or po-faced than propulsive plotting.

I didn't hate it, but if I wanted to watch more than two hours of the undeniably weird doing the inexplicable, The Sparks Brothers is also in cinemas.

The film’s flaws come primarily in the weak villain and some irritating editing and plotting choices.

Thor: The Dark World is nimble of step in the comedy department but as heavy as a hammer to the chest when it comes to exposition.

The ideas are so shamelessly out-there and imaginatively employed that it's hard not to get caught up in it all.

This really is the funniest, campest mainstream superhero film I can remember since the Adam West incarnation of Batman.

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

It might be a tough watch that'll put many off early doors, but this is still top-notch television.

Although the narrative beats don’t sear with originality, it is clever and has enough nuance and ambiguity to keep folks guessing right up until the finale, with a cast of characters throughout that are a genuine treat.

A serviceable family film.