Search: Starring John

Herriman is perfect in the lead.

Richard Fleischer's 1971 film attempts to reconstruct events and, in the process, delivers one of the most genuinely chilling entries in the serial killer canon.

Exhibiting self-assured flair and a penchant for creating breathtakingly choreographed fight scenes, Cheung has concocted a high-octane and bloody romp that blends melodrama with martial arts.

We may not know the names of the men in the room, but the combination of sharp scripting from Rose and focused performances gives us a window into the jurors' souls.

The locations are breathtaking, the longships built to scale, the costumes handmade, even chainmail is constructed by the original method.

In terms of quality, 1408 is neither executive suite nor basement broom cupboard.

Plays out with the same mixture of import and absurdity which marked the scandal as a whole.

Young makes a spirited lead, effortlessly conveying the emotional tumult of his character whilst giving him a sufficiently strong core that viewers of all ages will be able to relate to him.

Never fear, the requisite monuments duly get what's coming to them.

Annette Bening gives a glorious, all-encompassing performance.

This is great stuff - a fantastic musical documentary.

What the film achieves, better than any other rock music movie, is how unorganised and stupid so much of what went on behind the scenes was.

Alfie Williams is tremendous. In a cast that includes figures like Ralph Fiennes and Jodie Comer he more than holds his own.

Like the bulls that Papi is so fond of, this film is more interested in careering about causing mayhem than dwelling on details.

The film mirrors the narrative and, by keeping the visual stimulus in pace with the narration, it concentrates your mind on the tale.

Like a sort of laughter thong, it covers very little and doesn't save the blushes of anyone involved.

Underneath the film's problems, an edgy little thriller is struggling to get out.

History has been kind to Hitchcock’s film, something which is a testament to the director’s immense talents, and it is remarkable how well The 39 Steps holds up.

A handsome and suprisingly sturdy undertaking that explores the insidious effects of racism with a sharp eye.

This is a film possessed of a rare emotional intelligence.

The idea of the bare room, the helpless prisoner and the group of aggressive men is profoundly Pinteresque. Unfortunately it has neither Pinter's wit nor his brevity.

"I'm so scared we're going to die down here."

Daley, in almost every scene, acquits himself well, and Steve Coulter shines as long-suffering best friend Bill.

This Paraguayan thriller, featuring almost as many twists and turns as the market in which it is set, is a fast-moving, audience-pleaser with decent helpings of tension and black humour.

The filmmakers are so wrapped up in the importance of the social issues, that they forget to come up with anything to say about them.

Ideas of fascism, loss of the soul and post-apocalyptic existence, all ripe for exploration, are given a body swerve in favour of muddled new-age nonsense.

The narrative is paced with the urgency of a thriller.

It’s the central relationship between mother and baby which forms the most interesting part of what is otherwise a fairly straightforward ghost story.

The pacing means the plot doesn't sizzle so much as stew, with only the basic psychological drivers explored.

The tension is never loosened, the action seldom rests and the dialogue sounds as sharp and convincing as the actors who speak it.

The action sequences are alright, but The Accountant falls into the common superheroic trap (or trope) of confusing origin stories with character development.

The ordinary material of growing up mingles here with trans-specific experiences.

There's a lot of good work here, decent performances from Blunt, Damon and Mackie, some gorgeous locations and some neat production design, but it doesn't quite work.

Clarke has range and talent.

Every scene is brilliantly realised and inhabited by unforgettable characters.

The worse RBTV has to offer could not match the mind numbing stupidity of this caper.

There's lots of great material and La Bruce himself speaks at length about what his work has meant to him at different stages in his career.

Gray's film is so visually stunning in places, you'll wish that Roy would pipe down a bit and let you enjoy it.

All the ingredients are present for a classic thriller, except the budget. Some of the sets are as shaky as the dialogue.

It’s all watchable enough if lacking real dramatic tension.

What really makes the film work is the ambiguity around its central character.

Wonderland? I'm afraid this Alice has gone for a Burton.

Scott wrings out every last drop of suspense from the film.

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

With its CGI clever-dickery the kick boxing is controlled and packed. T

All Creatures Here Below is remarkable not just in the way that it makes us root for characters who would be treated like monsters in most films, but in the way that it carries us along despite all the bumps in the road.

If you've been confused by what you've seen of US politics recently and are looking to learn more about it, this is a great place to start.

For the most part...the rooms speak for themselves.

Captures the seriousness and the sweetness perfectly

The film doesn't pretend to be objective but it substantiates its medical arguments well.