Search: Starring Jar

Herriman is perfect in the lead.

13 Minutes is a sort of Casualty with tornadoes. And there is absolutely nothing wrong with that.

A nicely observed drama with rounded, sympathetic characters.

Sentimental tosh

As a cinematic first the audacity and imagination of Bart Leyton's way of working breaks new ground

What matters here is what is real and what is the figment of a sick imagination.

If the film takes a broad brush approach to its issues of individual rights versus the collective - and dips into melodrama in terms of the violence portrayed - Attenborough is a master of subtle emotional shift.

The film immerses us in the life of the city.

Any film that has both a fight director and a dance choreographer is probably doing something right.

I cannot remember the last time a film made me cry and laugh out loud half a minute later, especially not in public. The Artist did that.

It is Aurora herself who, unsurprisingly, provides the most poignant observations as she looks back at her life.

Australia undercuts its cinematic insecurities with heart, soul and imagination.

We get demonstrations of skill, from the weaving of a bracelet to the use of herbs to treat a wound, and these elements reinforce the idea that this is a real society which has developed organically over time.

Where these genius guys who put All Tomorrow’s Parties together succeed beyond expectation is in capturing the fierce and beautiful commitment of everyone involved.

If you're looking for a thought-provoking horror film to watch with friends, you could certainly do a lot worse.

One of the biggest downfalls of Baby is the quality of the acting.

This is an odd, often charming road movie, in which sentimentality is held in check.

Watching, you will believe that you can touch, smell, almost taste her wonderful creations.

It’s in this fracturing of feminine figures within a familial, uterine space that Thorndike finds the unsettling kind of horror she’s looking for.

The look is as unforgettable as the power that drives your emotional response.

Much of the film’s raw effectiveness is due to the young cast’s wisdom and effortless on-screen chemistry.

There’s an intelligent dissection of ideas going on here, and an acknowledgement of the frequent mismatch between ideals and emotions.

So much plot is spoken within the first 15 minutes that it's a wonder the characters find time for anything else.

The film has immense charm and skates skillfully across the surface of sentiment.

The performances fill the space between appeals and commissions with enough sincerity to retain your interest.

It is Blade Runner.

Ultimately, this is your basic talking heads documentary, interspersed with footage that redefines cinematic cool.

Blue Sunshine was made by a woman who has been through it herself, and that shows in every fibre of the film.

It is the depth of the characters coupled with the breadth of the acting talent that make this film so watchable.

It isn't doing anything new, but it does do it well, and entertainingly.

Rather than heaping condemnation on everyone involved – as you might expect – Ramos just tells it like it is.

Having set a scene of intriguing grotesquery the plot falls victim of its own invention

Unpredictable, offbeat and peppered with absurdist humour

Seems to offer very little in the continuing battle to convince those who still need convincing.

Nick McAnulty and Brian Allan Stewart combine a disturbing story with sharply observed satire in a film that's as much about relationships as it is about murder.

Viewer expectations, like that of the immigrants, are confounded as the hard-hitting consequences of this bleak act of humanity play out.

It's usually Keoghan who gets the acting plaudits, but though he is good as a wannabe bad guy, it's Jarvis who provides the heft, in more ways than one here.

A thoughtful, subtly dangerous film which denies viewers the reassurance of a conventional ending.

Becky Parsons and John M Tran's cinematography brings out every detail of the crowded rooms before us and puts us to close to the grain of the wood that we can almost smell it.

Harvey leaves enough questions unanswered in this twilight zone to ensure that Carnival Of Souls enjoys a haunting afterlife in the viewer's mind.

Though the director and stars bring a frisson to the relationship between Palko and his boss - the most fictive element of the plot - the script falls short in terms of fleshing out what lies beneath.

This is – apologies for the politics – an essentially Panglossian, Whiggish sort of film.

Erlingur Thoroddsen has done a fairly good job of cramming in an expansive and complicated story with very little compromise.

Hákonarson's woman against corporate Mafia premise is solid enough but The County never manages to generate the emotional intensity that the feuding brothers brought to his previous film.

The film’s general campiness does not diminish the points it’s making.

Witchcraft is a difficult subject for today's filmmakers, not least because of the public's shifting sympathies, but Lee has found a story in which it is a perfect fit.

"At the heart of the kingdom there is nothing," it says, but all the fascinating splendour that exists around that gap!

Certain Women is a film suffused in uncertainties.