Search: Starring Jar

The film is more documentary-drama than exploitation fare.

We get a real sense of what it might feel like to be trapped behind a tiny boulder on a hillside targeted by machine guns.

It is precisely Ed's inertia that makes The Comedian more a sketch than a film of action – and when things do happen, it is almost in spite of the protagonist.

The film itself has a fluid identity, part will they/won't they romance, part mystery and part unsettling thriller.

A powerful piece of work, beautifully depicted.

Coogler draws on the traditional elements of Rocky's success - strength of character in adversity, old-fashioned romance and, of course, a climactic fight - and tricks them out for the mobile phone generation to give them a new lease of life.

McConaughey's performance is a tour de force.

For those who have seen the originals, stay away.

A western for sleepwalkers and dreamers.

The director proves a master of the tragicomic as he observes one man's slip from midlife crisis to madness by way of obsession.

An all-round fun film to watch.

Øverbye makes a compelling lead, taking on the chunks of voiceover without any problem but also excelling in terms of conveying her character’s moods via body language

Oddson maintains a melancholy mood and finds ways to shift his narrative from everyday absurdity to full-on surreality and back again.

The blurry, hazy images recorded entirely on a discontinued Sony Ericsson cellphone – frequently in long takes – make it a hardly digestible slow cinema challenge, yet rewarding as an aesthetic experience.

There's some lovely family-driven humour in the script by Richard Bean and Clive Coleman delivered with great comic timing by the veteran leads.

Once you have seen it you cannot help but measure every film you have ever seen against it.

A superior sense of place and editorial timing lends the Breki's disaster urgency, tension and terror.

The concept may be simple, but the application is full of confidence.

The robberies are carried out stylishly in the chiaroscuro shadows of a moving elevator or with sharp timing and economy of movement in the blazing sun of a parking lot.

Styled as a comedy, it's a strange story of sin and marriage that never really rises above fanciful fairytale.

Manages to include a whole stack of annoying cliches, stereotypes and habits that it could well do without.

A simple, fast-paced adventure.

Hansen-Løve's momentary excursions into animation, split screen, and possibly re-writing of world history are the most effective parts.

There are no surprises, no laughs out loud

It's DoA meets The Wizard Of Oz with Matt Damon as an irradiated Dorothy.

Defies convention.

As an anti-hero Veijo is up there, thanks in no small part to Onnismaa's performance.

Skop has made documentaries in the past and he and Vásáryová are alive to small gestures.

Tears will be shed as you watch.

The subtlety comes from Crystal's underplaying, although the rat-a-tat-tat ad-libs and improv one-liners slow the movie down.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

The tension is masterfully handled in a revenge thriller narrative which also poses difficult ethical questions.

Ricardo Álvarez Canales and Andrzej Rattinger’s dialogue is wonderfully observed and the two leads give lively, fresh performances which make them feel like real 14-year-old girls, looking at the world in a way most adults forget.

At a time when safety is the key to Hollywood's washroom, David Fincher places a bomb under the plumbing. Expect to be shocked, freaked, thrilled and gutted.

Its momentum is overpowering.

Petré does not use filters, showing the world as it is – starkly beautiful on the eve of disaster.

Observant, informative and very funny, The Final Member is worth watching for far more than the smirk factor.

Moody, meditative, and of tremendous quality.

This Emmy-winning fable of piety rewarded makes a virtue of its own simplicity.

Bad rugby and fantasy sex fail to win the thrill-a-minute prize for originality.

Butchers the memory of the Eighties horror classic as brutally as any of its victims.

Shot on a real glacier in some genuinely fierce weather, it is at times completely immersive.

Any film about Gandhi will inevitably invite comparisons to Richard Attenborough’s, but Khan... has created a much more intimate, low-key exploration of the man rather than the myth.

Colin Firth gives possibly his best performance yet.

Remnants of bygone ways of life are beautifully shot in Giraffe.

The performances are all first class, with any one of the three leads capable of carrying a film on her own.