Search: Starring Joel Edgerton

Michod has created a deeply pessimistic but fascinating world lit by excellent cinematography and set to a moody score.

This is, as a whole, a finely crafted piece of cinema which handles its explosive subject with great delicacy.

It's true what they say about violence. Too much and you become immune.

Throw away The Bible and let's look at this thing afresh

The film is polished when it could have been sharp.

The closer Luhrmann stays to the spirit of Fitzgerald and the more he trusts his cast, the better the result.

The fascination of the film is the atmosphere created and the danger that fills every living minute

Westerns require action and pace not brooding silences and broken dreams

The dialogue has a tendency to forget what century it is.

It's the same old sentimental tripe that gets rolled out again and again.

The story is absolutely barking, but it comes alive in many moments of fine detail.

Drifts dangerously close to irrelevance.

Despite Nichols’s softly-softly approach, the film packs a powerful punch, constantly reminding us of just how recent these historical injustices are.

A sublime family thriller

Weaver...hasn’t had a role this rich for years, and is magnificent throughout.

Drab and strangely unfocused.

Likely to please younger audiences who will find the simple, fairy story style arc comfortingly familiar and the central protagonist quirkily relatable.

Borrowing tropes from horror, the film adds an uncanny undercurrent to its drama.

Despite all the right elements, something doesn't quite gel.

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

Van Heijningen Jr tragically fails to exploit our fear of the unknown and the potential tension of the paranoia-stoking premise.

There are no doubt those who would argue this magic-hour drenched vision of America through the 1900s is a bit too chocolate-boxy for their liking but the weight of tradition can exert an impressive pull and does so here.

O'Connor and cinematographer Masanobu Takayanagi lay on some visceral bouts in the ring, thoroughly exploiting the fact that mixed martial arts makes for a less predictable combat sequence than a boxing match might.

When the dam finally breaks it does so with a rush that still doesn't manage to overwhelm the sense of disappointment at its 'is that all?' reveal.

If you've read the paper during the last ten years, you won't get much new insight here.