Search: Starring John C Reilly

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 Aviator is a beautiful picture with flawless performances, wonderful cinematography and extravagant mise-en-scene.

Enjoyable and witty, all the more impressive when you discover that it took only 19 days to shoot.

Unlike many of his other films where there are underlying touches of humor, Polanski plays this one more as a straight comedy.

Scruffy and scarred and only inadvertently dashing, Crepsley has none of the glamour generally associated with vampires today, though John C. Reilly has no difficulty in making him compelling.

If the plot development lurks on cusp of credibilty, the characters feel genuinely complex and are given a real sense of humanity by Tomei Reilly and Hill.

So overloaded with oddball characters that it never finds an even keel.

Costner is running on empty.

As a director, he captures the seedy glamour of the gambling world perfectly and as a writer he propels a taut, no-frills story along with a screenplay that’s literate and believable.

Boggles the mind and stretches credibility to the outer reaches of imagination

Feels less experimental and alternative than, well, the zombie genre demands.

Lanthimos satirises our obsession with relationships and modern day electronic dating rituals although the results are not nearly as funny and knowing as the director clearly thinks.

The performances by Steve Coogan (Stan) and John C Reilly (Ollie) are above and beyond the call of duty. They give the film heart.

You'll watch, you'll laugh, you'll have a great time, you'll quote the cheesy lines with your friends afterwards.

On balance, the dexterity of Garrone’s vision papers over the cracks and finds the poetic dimensions of the magical material.

The humour is so basic, it doesn't need a spell check.

Lynne Ramsay's adaptation of the book perfectly matches its intimacy, too close for comfort for some, and manages to make aspects of it even darker.

One of the rare chick flicks that doesn’t appear to hate women, Year Of The Dog contains its essentially sappy narrative within a membrane of stabbing humor and ingenious reaction shots.