Search: Starring Jason Flemyng

There is a solid certainty amongst its crosses and doubles and that's that it isn't very good.

Grim, bleak, misanthropic, confronting and uproariously funny from beginning to end.

There is great chemistry between them and Jaques knows when to tread lightly, letting their natural humour take over.

Given the state of the things, it's fair to say that some of the situations that will arise are telegraphed ahead of time, but that adds rather than detracts from the tension - after all, aren't all satisfying meals in some ways connected to anticipation?

The Pittster does do his best with a restrained and mature performance, but he's about as shackled by Benjamin's condition as the character is.

Far too straight-laced and uptight to appeal to fans of either genre.

Judging by the violence of the crimes, the killer cannot be taken seriously when finally he is exposed.

The final act has multiple twists but by that time interest has waned

The truth is that this genre mash-up attempt ends up feeling more unintentionally hilarious and hysterical than impressive or refreshing.

The designers are caught in an unfortunate time loop that keeps dragging them back to the Eighties.

This is a film whose bombast and ambition is compromised by the fact that it clearly never met an idea it didn't like.

For those who've always found Robin Hood yarns a trifle lightweight, this rufty-tufty beer-swilling, limb-lopping examination of King John attempting to quash a rebellion after being forced to sign the Magna Carta is worth a look.

Is the action packed? Certainly. Does it add up to anything? No.

For exuberance, inventiveness and gut-spilling humour, Guy Ritchie's debut takes some beating.

The film is so predictable, you could lay bets.

Mirrors doesn't feel like an unfixed horror for an uncertain world, it comes across more as a broth for the appetites of focus groups.

You don't need the sheet music to know that this is a familiar tune and the film does lean into all the expected emotional beats heavily.

Rock Star has the beat. It even has the vibe. But it ain't got the soul.

The film cannot help but be a collection of shorts, artfully joined together and given a twist in the tail.

You have to be pretty open-minded to endure the morbid humour, but it's the guiltiest pleasure you're likely to have for a long time.

Races furiously along, capturing perfectly the sense of a life fast spinning out of control.

A really enjoyable yarn in the Princess Bride mold, told with panache.

The pitting of Kingsley against Caine in this context is delightful.

The Transporter franchise suffers from some serious engine failure in this too-slickly produced sequel and only just makes it over the finishing line.

A Woman In Winter is about obsession. Occasionally, when clarity breaks through, you can feel the power of possession and how illusion fades like the mist.

Predictability is the name. Wrestling is the game.

The biggest difference between the book and the film is that I enjoyed the latter enough to want more.