Search: Starring John

All praise to the acting here, as each star deliver characters with depth and meaning, without the encumbrance of lengthy self-exposition.

No one is quite who they seem, which suits the peculiar Californian unease that comes with bad air.

Lee is terrific and his natural charisma gives the film the energy it needs.

It has a Wicker Man feel but without the flamboyant histrionics

Now it's Denzel Washington's turn, which means this is serious and requires a smart turn out at all times and a watch that goes 'bleep'.

The film has more violent action than a PG-certificate dares admit to and looks suitably legendary.

Jeff Kaufman's documentary explores the intersection of the personal, the political and the artistic with a focus on understanding what the playwright always advanced as the most important of human endeavours: communication.

Most of Reece’s works are first and foremost character studies, so it’s not surprising that his adherence to plot doesn’t last; the film is better for it.

It's wrong, but it's fun, and at times touches on some heavier issues such as alienation and the suburban experience.

It's highly intense, superbly photographed and expertly edited entertainment.

There’s a sweet-hearted but dated dad rock quality to this tale.

In a festival selection that included a number of feminist works and perspectives this was a standout.

Several characters apparently forget that the point of a gun is that it can be used from a long way away.

By avoiding serial cliches, director Joe Berlinger touches on a different level of revelation.

There isn't a massive amount of 'action' per say, but Apted's expertly-paced tale throbs with genuine suspense as the net progressively closes in on Guy.

The pleasure of Garland's film lies more in the deeper questions of what makes us 'human' and in the tensions generated between Caleb, Nathan and Ava than in the plot, which suffers from predictability.

If he achieves all this on a small budget, it's about time someone gave him a bigger one to play with.

Dangerously thin on purpose

You know you can’t be certain of anything. And that’s disturbing.

Ponsoldt's film is more interested in what lies beneath the skin of the men than the covers of the book.

Refreshing and breezy - but also forgotten almost as soon as it has wafted by.

It is by turns sad and disturbing - with occasional bouts of highly dubious dark humour.

Despite all the hard work by the special-effects teams, this is lazy film-making.

Courtroom drama dressed up to look like something more.

The grandeur and beauty of the place is set against figures of climbers, like black ants, across a white wilderness

A college baseball team behave like sexist pigs with verbal diarrhea

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

One might fairly say that The Evil In Us is cobbled together from scraps of other films, but it's nicely shot and edited and looks, overall, much better than one would expect with that in mind.

Far too little action and far too much driving around.

Exam drifts from being genuinely enigmatic and moody to derivative, disappointing, even ridiculous.

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

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

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

The strongest features of the of the film are the performances by Max von Sydow and by Sandra Bullock as Linda, Oskar's mother.

The thematic links are remarkable, because they reveal and conceal simultaneously.

Bertoglio once took pictures of moody guys and sexy girls. “We were all ego maniacs and drug addicts,” he says. “That’s a bit of a problem.”

Good intentions and an interesting (though weird) core idea are not matched by the execution.

At a lean 75 minutes, the film does well to paint that age-old dilemma between the romances of impulse and the disappointments of real life.

For me, and I suspect an entire generation, this is the definitive, almost faultless, take on one of English literature’s most powerful and evocative works.

A more complex plot, solid character development and some fantastic set pieces make this one a winner.

The subtlety comes from Crystal's underplaying, although the rat-a-tat-tat ad-libs and improv one-liners slow the movie down.

Fraught and anxious, yet enigmatic, Turturro's performance is beautifully understated.

Cheerful, bullet-strewn entertainment.

An ambitious plot implodes in the detail.

Ortega gives herself over completely to her role, delivering a mesmerising performance.

Film is an assemblage, a team effort, and in foregrounding the unsung The Fall Guy gets its mix wrong.