Search: Starring Jar

It’s a wonderful experiment, and often very funny, but it is also, perhaps intentionally, exhausting.

This is political in a way that is rarely found in documentary.

The film has every quality of a personal story.

The film doesn't hold back from showing us how difficult the challenges involved are.

Kuosmanen constantly shifts perspective, asking us to view the situation from a different angle - and another place of emotional truth.

Jacobson is definitely a new British talent to watch.

Jarecki, as always, does a good job of presenting a huge amount of information in bite-size chunks.

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.

An inconstancy of detail might be forgivable if it were not matched by inconstancy elsewhere.

Writer/director Hany Abu-Assad emphasises the menace in the mundane.

Young love has no currency compared to dirty currency and freedom is a dream rather than a promise.

There is nothing very special here - nobody is dreadful but nobody is any good, either.

The biggest problem with the film is not its snail's saunter, but rather the minimalist way Pitts approaches the scripting.

Intelligent and sophisticated.

In less adept hands this could have become a clash of content but Václav keeps all his elements in balance, managing to celebrate the beauty of opera on the one hand while showing us uglier mini dramas playing out at the front and back of house.

Taute favours real stunts over CGI and puts his team through their paces with some serious challenges, adding a certain frisson to the film which just doesn’t exist when only pixels are at stake.

In short, Insect is a self-consuming product, always at pains to expose its artifice as it offers behind-the-scenes commentary on both its own and the play's making.

There's much to enjoy here, from the gripping performances, particularly from Taujanskaité and Bagdziunas to the handsome cinematography from Denis Luschick, showing bags of potential in his first feature

Jarvis' performance connects, or perhaps more accurately, carefully unhinges the dots of Hamish's unravelling.

A full picture of the nuts and bolts of people smuggling.

In Passer's hands, understatement is a powerful weapon.

It’s getting dark and his torch is on the blink.

Has a quiet, stark beauty and a fragility of construction.

If the plot is cheese, it never rises above the level of a Dairylea triangle

Every time there is a gear change from ‘funny’ to ‘emotional’ it grates.

The animator brings to full life precisely what his rulers were endeavouring to keep repressed: the nightmarish, the unconscious, the nonsensical, the abject, the uncanny, the insatiable, the immoderate, the ecstatic.

The film fails to fill those spaces between speculation and that other thing - truth

What's remarkable about Crowe's cinematic high-point is how he achieves conventional things in unconventional ways.

The first thing that needs to be said about Judge Minty is that it looks stunning.

An artfully constructed and effective thriller with a feminist spine.

Heart strings are taut for plucking

Mathison's deep concern to honour the project with perfect truth lacks objectivity.

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

In terms of mood, it is masterful, however, the film falls down slightly due to a surfeit of subplots.

Brimming with charm.

Though most of the story is unrelentingly grim, it's always watchable, absorbing despite its depressing atmosphere.

Spielberg, as he is very good at, goes out on a limb to walk a tightrope of his own making between melodrama and sinewy storytelling.

Severely patience-trying.

I was truly taken aback by the supreme quality of every aspect of this production.

Just when you think you know this story, Oldroyd and Birch begin to show you that you don't.

Sigurbjörnsson does excellent work in between the lines of the script and Rúnarsson gives him plenty of space, so that not a single moment of the 17 here feels hurried.

Emotionally electric and so deeply felt, Lian Lunson's infuriatingly artsy documentary style fails to dilute the privilege of the experience.

Along with Vladimir Gojun’s progressively rhythmic editing and Julij Zornik’s subjective sound design, the filmmaker takes us right into the protagonist’s, and therefore any and every teenager’s head.

Although Lover, Not A Fighter is a decidedly funny film, it tackles a multitude of gut-wrenching themes.

The script stuns you with its verbal observation of regular dullness

Original, explosive and dense with social criticism.

The effects and the action and the creatures are fine. The script dies out.

Svankmajer makes the whole world a madhouse and all humanity its patients.

The film feels surprisingly modern but never anachronistically so.

Car chases and retro dialogue clog up the machinery