Search: Starring James Cosmo

Assault shows all the slick professionalism - and stylistic blandness - that might be expected of, say, a crime thriller on ITV.

The story has imaginative flashes that burst through the mists of fear.

Whilst the film could certainly do with tightening up the pace or exploring its themes more deeply, it works well as a character study.

Brian Kirk's film has a sentimental heart and a lovely performance from 11-year-old Iain de Caestecker, as Billy.

It's laugh out loud funny in places, and there's an endearing earnestness throughout.

In terms of accuracy, Braveheart is a big pile of mince.

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

Anchored by a sincerely anguished turn from talented young Welsh star Aneurin Barnard.

It's important, when criticising some of the more clichéd elements here - the dark versus the light, the Tolkein parallels, the quests - to bear in mind that this film is aimed at older children, not your average jaded film critic.

Donkeys is an interesting experiment. But its script is patchy, and at times strands the excellent performances in a wasteland of poorly defined relevance.

Manson is strong in the lead, showing us January's vulnerability - induced as much through terror as anything else - without relying on pity to hold our attention.

It was lovely to see the film... I want to get the DVD so I can see it again.

More televisual than cinematic, Half Light is too chocolate boxy and clean to be completely convincing, but it's a diverting enough story.

To be honest, this is worse than embarrassing. To be kind, pop music and moviemaking are separate art forms, requiring peculiar talents that do not necessarily coexist.

Even Banderas' character feels like a cheap knock-off who is not fit to polish the boots of Puss.

The psychological drama, which Pearson handles with impressive assurance, is the strongest part of the film.

Robert Carlyle's directorial debut adapts Douglas Lindsay's novel detailing the life and crimes of Barney Thomson with real panache and wit.

A breath of fresh air for the British film industry.

The plot strands are endless and allow for little character development.

For a feelgood movie, it is surprisingly slow.

This an actors’ film, featuring sterling work from all three leads.

Shows a maturity that embraces every aspect of what commitment and family means and why those sentimental things that blokes feel uncomfortable with have a purpose and a reason.

The script is laced with expletives and the comedy weakened by a lack of dialogue support.

Even as a teleplay, this would be considered a waste of decent talent.

When it comes to action, the film doesn't disappoint, and the final scenes of men running around in mud are up there with the best.

For much of its runtime, Outcast may be the best British horror film since The Descent.

Be told. See this film.

Its biggest problem is that its main protagonist and his love interest are never fleshed out and could basically be boiled down to all too known Hero With a Thousand Faces tropes

The stories become more sensational. The writing is still there but they seem less grounded than those in the first three series.

A unique piece of cinema, superbly performed and dangerously directed

Its comedy leaps barricades.

Ultimately, there is no depth to the drama and precious little soul.

The underside of Glasgow life is captured with merciless accuracy.

This particular malt is a wee charmer in its own right.