Search: Starring Jamie Bell

Nuanced and thoughtful, alert to the individual suffering behind the headlines, cogniscent of the bigger picture.

A rollicking, humorous rollercoaster ride with stunning set pieces.

Protagonist Adam (Andrew Scott) lives in a neatly furnished home, no longer feels the need to hide his sexuality, and tells himself he’s fine, but the music says otherwise.

Lee Hall's multi-faceted script manages to open up the story behind the strike, touches on sexuality and expression through art while appearing to be just telling a damn good story.

Bassett's taut script takes risks with credibility.

As an example of pretentious filmmaking, Dear Wendy scores high marks.

Everything is fairly predictable and heavily signposted.

Annette Bening plays a different character, raging against the truth, a bitch angel feeding her emotions.

It's sad to see McAvoy's raving, raging talent gone to waste on something so patchy.

Flags Of Our Fathers does a helluva job.

A terrific soundtrack and Jamie Bell’s perfectly judged performance and charismatic persona holds it together throughout.

This is one of the most visually ravishing period dramas ever.

Despite its winning formula of talent, concept and visual execution, Jumper feels like a slightly anaemic first instalment.

Big is back.

Enjoyment of Man On A Ledge largely depends on whether you can suspend your disbelief from 21 storeys without it crashing to the ground.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

It's a film that goes out of its way to provoke and disappoint, but to those who get its jokes and can cope with the rest, it's a delight.

Fletcher and his star Taron Egerton fling themselves flamboyantly into John’s life, riffing on events, giving them a surreal spin but always keeping how John is feeling about each moment front and centre.

There are some powerful moments in Skin, but however lasting some of its impacts the film isn't as deep as it hopes.

The mix of action and satire also turns it into an absorbing hell of a ride.

Emphasising texture over tension, Undertow plays like a mud-splattered Hansel and Gretel.