Search: Starring John

[Brosnan is] put through his paces by Maori director Lee Tamahori and comes out of it stirred, but not shaken.

The Dirties... has two leads who work well with each other and whose naturalism and likeability draws us in

Detached rather than indifferent.

This is cinema that is not necessarily safe.

District 9 actually has some intelligence behind it and expects some in front of it, too.

Deren's observations reveal a dispassionate ethnographer but one with an artist’s ability to create atmosphere using metaphor.

Yes, it’s flawed and a bit daft at times, but for transforming a show that virtually nobody thought was worth bringing back into impressive Saturday night TV, Davies deserves all the back-patting he gets.

It's not quite as comprehensive as might have been hoped, but it still has a lot to say and a lot of fun doing it.

Don't expect revelations beyond those designed to appeal to eight-year-old girls and warm blooded animal lovers

Mullan, as usual, blends his trademark emotional rawness and understatement of gesture to powerful effect.

A compelling and powerful character piece.

The threadbare plot relies on the performances and writing to underpin this narrative simplicity.

Despite the low budget, uneven performances and buckets of sleaze, Don’t Go In The House still wields the power to disturb.

We may lose Irving's energetic prose but, thanks to Williams, we lose none of his narrative bite.

Bardwell's movie has a natty self-deprecating tone, making it all much more pleasurable.

To pull this off requires a strong script and intelligent direction, and, surprisingly, this film mostly succeeds, despite occasional moments of ham-fistedness.

A great deal more than an end-of-shoot wrap party.

Charismatic, spontaneous, funny, infectious, Scott Lee doesn’t just play the dragon, he inhabits him.

Its exploration of the tension between the real and the fake is timely and important.

What might in lesser hands have been an aimless, stilted disaster here becomes, thanks to these capable, funny capable actors, a finely observed naturalist comedy of manners.

Bob may have the beefed up body of a bouncer but Hardy continually emphasises his softer, hesitant side, his body language screaming flight even though he is built to fight.

The charm of the movie lies in the fact that it is well written, acted and filmed, despite being shot in a single tiny, squashed location – the video store.

While the movie has some interesting ideas, the acting from the leads really lets it down.

A simple, fast-paced adventure.

Well paced and well directed - especially when you consider that it was made entirely by schoolkids.

The surprise here is Cool J, who puts in perhaps his best performance to date.

Caine's presence makes the difference between entertaining nonsense and a rattling good yarn.

Despite a star studded voice cast it lacks the comic invention required to make an impossible dream memorable

This is a comprehensive and uncompromising look at some of the films that still influence many independent filmmakers today.

There are no surprises, no laughs out loud

By contrasting an artificial man with the real but unsubtly false men and women of the world and their queer existences, Burton presents satire with a dull thud.

Alternately hilarious and touching.

At once overstuffed and oddly slight, it’s a restrained and sincere work.

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

When Liz dons her breast plate and rallies the troops at Tilbury, you'll want to put down your paella and rush out and sink a few Spanish ships yourself.

Though it goes through the motions of that standard kids' Christmas adventure film, Elliot: The Littlest Reindeer lacks the charm necessary to make such endeavours work.

Scott’s beacon of light is swallowed up by Stone and Beresford’s heavy-handedness.

There is nobody who makes films quite like Jodorowsky's, and El Topo is one of his finest.

It’s great to see comedy set against dark subject matter, but here the balancing act often falters.

It’s Plaza’s magnetic performance which really makes it special.

Not since Sofia Coppola's Marie Antoinette came out in 2006 has any film looked quite so much like a piece of confectionary.

It is breezy, bright, brilliant.

Once or twice the CGI at least has the element of surprise on its side but any time we're asked to look for more than a moment at these digitally created animals, it ruins the realism.