Search: Starring Jeremy Irons

Harris the director handles both the personal moments and the action sequences well.

This film is not worth seeing. The costumes, special effects and a brilliant cast can't save it.

Like a mutant monster, barreling out of control and straining to contain its own shifting form.

There's a credited law enforcement consultant, and I will spare their blushes because I actually suspect that there's a more credible depiction of tactics and techniques in the Paw Patrol movies.

Go, to enjoy the expensive shots of Venice and its spectacular interiors and the camped up performances from Irons, Ledger and Platt.

Perfect family viewing for a lazy weekend.

The film plays on its clever concept, forgetting that its audience wants the agony to end and the action to begin.

A sensitive yet intellectually robust work.

The film has more violent action than a PG-certificate dares admit to and looks suitably legendary.

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

In the literal act of performance there is room to talk about self as performance, and that is where High-Rise is strongest.

Imagery and sound are so closely wedded throughout that at times it seems meaningless to distinguish between the two.

The subtle sense of humour Irons portrays, as well as superb comic turns from Keith Allen and Simon McBurney as Kafka's impish assistants, strengthens the film's absurdist undertone in keeping with the traces often encountered in Kafka's novels.

The battle for Jerusalem is full of jaw-dropping, breathless action.

The 3D genuinely adds a layer of freshness to the experience, right from the opening frames when we fly into the heart of the film with Zazu, and the immersive effect makes you reconsider and appreciate the exquisite hand-drawn animation all the more.

This version is better than Kubrick's.

Chandor makes good use of his acting assets and there's no doubt that he knows how to direct, but ultimately, the dullness of the script is just a little too toxic.

You are unlikely to see stronger performances in a costume drama for a very long time.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

Jacir's film might look back to the 1930s but it's a film that is in conversation with the present-day.

The lady can't keep her clothes on. It's part of the training

Guy Pearce is a puzzling lead, at times desperately out of his depth, mostly getting away with it due to his skill at looking lost and miserable as he mumbles his lines and does a bizarre impression of Nick Cave.

A charming and entertaining take on the film within the film scenario, with solid performances from all of its cast.

With a carefully measured pace and a lot of focus on light and movement, the imagery here will be particularly effective at engaging young dyslexic people’s minds.