Search: Starring John Hurt

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.

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.

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.

Succumbing to rather too much melodrama in the final third, which undercuts the chilliness of what has gone before, this is nonetheless an interesting debut that promises better to come.

Nicolas Cage plays against type, retaining his movie star persona, which is not the same as being convincing in the role of a man who lives for opera.

Daniel Zelk Berk’s feature has all the essential ingredients of a political thriller - a moody grey-blue filter, a tingling, foreboding score and people throwing back whiskies while staring drearily into space.

A western for sleepwalkers and dreamers.

Merrick’s history, with its tragedies and triumphs, breaks the barrier between a life less ordinary and a horror comic.

No surprises. Nothing to write home about. And yet thoroughly entertaining.

Hellboy holds his head high above the mass of superhero characters thanks to a terrific performance by Ron Perlman.

Cinema is full of monsters, but few in recent memory have been so capable of eliciting our sympathy and understanding.

Immortals could and should have been so much more.

As each of the Indiana Jones films has demonstrated, iconic talismans from the past can still conceal an awesome power.

This is a film full of cultivated emptiness.

Brought up a notch by a fine cast, some genuinely funny scenes and a curious darker streak that lies beneath the laughs.

I suspect even Jarmusch’s most ardent fans will find longeurs.

Janusz Kaminski directs with an originality completely lacking in churn'em'out horror flicks, using bled, grained colour to create a look that peels the lustre of life from New York's dark soul.

If it wasn't for John Hurt's astonishing performance and Richard Kwietniowski's dark sense of humour, it would have little to recommend it.

This is a film that defies logic.

Be warned: this Great Dane backs up his satiric bark with a vicious bite.

Lars von Trier's sublime invitation to the end of the world is a grand film by a master story teller who does not repeat himself.

A hard-hitting, ruthlessly honest account of a young American's experience of being locked up in a throw-away-the-key situation miles and years from home.

What it lacks in complexity or emotional intensity, it makes up for in entertainment.

What is so disarming about Jarmusch's Only Lovers Left Alive is a scarce sense of appreciation - of the vampire couple for each other and the appreciation by both of them for what is great in the world.

It's incoherent in the extreme, the acting is pretty bad and there are heavy helpings of cheese, but for all that, it has a certain charm.

Cave's screenplay is full of rich incidents, impossible moral choices and, most of all, complex characters, brought to grimy life by the excellent ensemble cast.

Energy, enjoyment and a refusal to be bothered by purist sensibilities make this a rollocking good adventure.

It's shocking that a fictional story, based on true events, is more emotionally affecting than watching the reality on the news.

The only real mystery, however, is what is this great ensemble cast doing in such a poorly executed movie?

The mix of action and satire also turns it into an absorbing hell of a ride.

By series three the formula, now tried and tested, is, for the most part, followed. But there are changes.

That Good Night is a fitting tribute to a great actor, but it is not as smooth a swansong as one would hope.

The cool colours and muted emotions of this John Le Carré adaptation fit the 1973 Cold War backdrop perfectly and are appropriate for the murky world of moralistic shades of grey.

This one's a little bit more for the kids, as far as funny goes, but if that's a bit of a turn off, think of it as a good way to introduce youngsters to an important part of British history.

In making V a symbol of vengeance, valiance and victory, V For Vendetta does for a letter of the alphabet what Kill Bill did for the colour yellow.