Search: Starring Joaquin Phoenix

The plot produces one of those surprise twists that reinforces its decline into gratuitous cliché.

There is no key to unlock it. Doors are held open to interpret, wedged with countless other stories.

At turns funny, violent, bitter and over the top, it's a curious little fable about boredom, risk-taking, and the frustration experienced by trained fighters in peacetime.

It's hard to be tough on a film as warm-hearted as this one is in spirit - like Callahan, it's trying hard even when it fails.

The truly admirable aspect of Eddington is the way Aster constantly pulls the rug from under expectations.

Ridley Scott's 2nd century extravaganza dies during those pauses between blood, sweat and fear.

It is in these details, the small objects Jonze provides us with in his film of disembodied desires, that essences become distilled.

This is a solid film, but it is the truth that holds the power, not the direction.

The story is not as well-developed as it should have been but it’s an enjoyable enough treat for Allen fans for whom he can do no wrong.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

This is a shivery thriller, made better by a disturbing lack of information.

Phoenix strips the skin off your eyeballs. What happens next is a gasp away from easy.

The animation is just part of the film’s major selling point, which is unpredictability.

There's no real involvement, or epic feel, though there is enough emotion to make it worthwhile.

She won't marry. She refuses. Is she lesbian? Hey, that's an idea. Let's investigate.

Surrounding, supporting, and undermining the central love story, Paul Thomas Anderson paints unforgettable scenes that should be enjoyed in a rare 70mm projection.

There's a sense of tragedy underlying all this but it doesn't overwhelm the narrative, and we get a distinct sense of who Vivian was as a person.

Even at its most epic there's something lacklustre about it all, as if the whole thing were being printed in ink-saving mode.

Kaufman's recreation of early 19th century Paris is more theatrical than real.

Reservation Road is really only ever going from A to B and, despite the offer of some intriguing ideas, never moves far from its initial premise.

Shyamalan continues to cut a swathe through mainstream Hollywood, while retaining an integrity and refusing to compromise his vision.

Phoenix gives his character more depth than such men are usually afforded but deliberately takes a back seat, allowing Reilly the dramatic lead role he has long deserved.

Joaquin Phoenix is utterly convincing in this role, conveying the longing and confusion with glimpses of the happier guy he could be.

Oliver Stone directs like a grasshopper on amphetamines.

Gentle, touching, amusing, terrifying, shocking and dramatic all rolled up into a beautifully shot and skilfully rendered film.

Although the plot is a tired one, Walk The Line avoids hitting any dud notes, thanks to the excellence of the two leads.

This is a tale which rewards the intelligent viewer and, ultimately, has much more to say for itself than the average crime thriller.

Nothing plays out as you expect, with Ramsay maintaining an unsettling staccato that keeps both the action and the viewer on edge.