Search: Starring John

There’s a lot of big drama and not so much of the subtler stuff which might help viewers to feel connected.

Grand chases and massive effects.

Either the Coens have no conception of reality, or the people they write about lost the place half way between there and here.

Ultimately a curious hybrid that admirably tries to transcend its genre trappings but sadly falls short of its noble intentions.

If proof was needed that the ethics of the two-minute commercial have taken over the visual media, this is it.

If only Fast And Furious had a better sense of humour, it might just wash.

This souped up little number comes with plenty of cliche under the bonnet.

The dialogue is irreverent and sharp like a raven's claw.

Gilliam uses voice over (too much?) to give a taste of the Hunter S style and help explain what on earth is going on.

Tellingly, despite all this extra material, the film does not feel slower and does not become boring. If anything, it’s better balanced, with a more fluid sense of momentum.

Carson can't articulate his feelings very well but Camperchioli lets us see them.

The film is ludicrous and wonderful. It has genuine eccentric conviction.

Fifty Shades is romcom without much com: an old-fashioned soft porn flick designed to appeal to women “of a certain age” (and younger).

What comes across more than anything is how the American way dominates.

It is difficult to find anything bad to say about a film that treats an interesting subject with such respect and ingenuity.

A cast to die for? Certainly. And they almost do.

Stallone's energy and ambition knew no bounds in the Eighties.

The simplest of pleasures bring the greatest moments of joy in Reichardt’s latest film.

For those who are living with a 19th century idea of what art is, dismissing fashion as trivial and frivolous, Bolton counters that sometimes "fashion is easier to understand than language itself."

Why something so English, which includes actors of David Hayman’s quality, despite the Scottish accent, appears rudderless is difficult to justify.

Self-hatred and lies, stuck on the merry-go-round of never-ending temptations... give Flight its tension.

This is Foster's film from start to finish.

It's corny as hell, but its sincerity is charming and it will appeal to those who want to set aside cynicism and enjoy an optimistic tale.

The embarrassment levels are high

This film is as interesting because of its failures as its successes.

Shot in handheld black and white with an obviously-low budget, it might seem rough – but what we’re watching is still pure Nolan.

With the weight of the film on his shoulders - and feet - Wormald doesn't let it down.

Dietrich is, as usual, magnificently knowing, mannered and sensual.

Director Victor Buhler works well with what, on the face of it, is a minor story.

Hunter S. Thompson and the crazy stories of what the pair got up to in the USA are an obvious highlight.

Costner is running on empty.

This is the time of year when I want buckets of forced sentiment with my overpriced cola, but this film felt cold despite the lack of snow

The audience is taken from delight to despair, while never truly losing its grin.

Bursting with creative energy.

Worth a look for those with interested in the history of exploitation cinema.

A film like this is a costume designer's dream.

Where the film succeeds beyond expectation is in its depiction of the kids and how the tribal lines are drawn in areas of this city where drive-bys are as common as parking tickets.

It's entertaining, no doubt.

The main performers are not bad, but overall this feels like a missed opportunity.

The thesis behind it doesn’t really emerge until the end, when we get the suggestion that if Band’s work is less visible these days, that’s at least in part because of what has happened to everything else.

Fifty Shades is rapidly becoming a modern erotic version of Dallas.

There is an altogether more 'British' music hall feel about proceedings.

A thorough, engaging and sprightly consideration.

The film is packed with surprise.

Words fail. If shock and disgust is what the directors want, they have it.

The film is unnecessary, crude and unrefined, but takes its place in the entertainment black hole that is Friday night, as the cinematic equivalent of a fried Mars bar.

The film is a hodge-podge of archive clips and interview material but it just about gels and a host of smaller scale family stories round it out nicely.

Though Gibney’s film has an interesting figure at its heart, the film never really feels like it is giving either strand of Kuti’s life: the music and the politics, enough attention.

Intelligent, thought provoking and beautifully acted.