Search: Starring John

The best scenes in JCVD have a loose playfulness that redeems the angst.

This is a change of pace for Segel and it allows him to showcase the full breadth of his talent, creating a very full-on character who, beneath his bluster, has a surprising amount of depth.

Gilliam's monster, when we finally see it, is so hideous a thing that we can only be grateful this film is played for laughs.

Bruce is always one step ahead, which keeps tension levels low.

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.

Jennifer's Body is a sexy, smart mouthed horror that cannot be knocked for ambition or cleverness.

The film’s initial loose and enjoyable construction gradually drifts towards a drawn-out and repetitive melodramatic conclusion.

Richly atmospheric and often deeply disturbing, Jindabyne is a superb example of well-crafted drama, cinema taking on real issues without ever losing its narrative edge.

If you're interested in the technical details of the sport or the process of filmmaking, you may find Julien Faraut's unapologetically artsy film fascinating.

If you liked the first film, this is a lot more of the same, with the curmudgeonly DeVito adding enjoyment to the framing sequences.

Entertaining, adventurous and funny, certainly not a mental whiteout as expected

This adaptation of Sean O’Casey’s play about a Dublin family trying to get by might best be described as one for completists, in terms of Alfred Hitchock’s body of work.

So riddled with logic gaps, dumb character decisions and simple confusion about how we should view the entire conceit, that the actual genetic recreation of dinosaurs from 65 million years ago starts looking believable in comparison.

The heart of the film is a performance from Harry Gilby, in a feature debut - ably managing to convey not only the struggles but the strengths of young Charlie in the face of any number of vicissitudes.

The true weakness of the film is the script - a single gag runs through it.

Slowly but surely the wonder of moving pictures bleeds to death in the corner of your mind

Better standard camera techniques and catchier tunes would be more likely to ensure box office success.

Journey 2: The Mysterious Island is a good example of bad storytelling.

Jucy may at times take on the ramshackle amateurishness of the play in which Jackie and Lucy appear – but it more than makes up for this with an enthusiasm and vibrancy that ensures its judiciously brief duration breezes by.

Swinton is mesmerising as a messed-up drunk.

Please Walt, leave the boy alone.

How refreshing to see a film made there with care and attention to authenticity.

Serious acting, but it becomes something other, something smaller than its stage.

Keep The Change tells an intricate love story, featuring people we rarely get to see on the big screen

This is a largely tasteful, delicate look at the legend.

The film stays just on the right side of knowingly self-aware, excusing the major flaw in its basic premise without getting too smug or annoying.

Wadlow's sequel flails about like a bar room drunk in a brawl - despite hitting out in all directions, very few of its punches strike their target.

Himself a survivor of the Khmer Rouge regime, lucky to have escaped with his life, Ngor subsumes himself in the role in a way that makes one wonder that he made it through filming without losing his mind.

The mood is that of an office in which at any moment, anything is possible, a little bit like in the films created here.

Eklöf also doesn’t deal in absolutes, allowing us to see that Jan is both damaged and damaging, not just to himself but others - a hot mess in a cold climate.

In many ways, the praise that is heaped upon Karen’s singing is the film’s undoing. It gets repetitive after a while and is rarely insightful.

The animation is exquisitely timed for terrific comic impact.

Ambitious in its attempts to stitch Jack Kerouac’s biography through a patchwork exploration of both cultural and social modern America as related to his seminal book On The Road.

It is Scorsese at his, one hesitates to say peak, but absolute.

This is a film whose acutely insensitive dialogue shows very little mercy toward any of its characters, but whose actors work hard to claw back a little sympathy amid the misunderstanding and petty cruelties.

The nagging thought during the 90 minutes is how far two these one-time Hollywood’s A-listers have fallen.

This 1933 classic is still the big daddy of all monster movies.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

Emde is a force to be reckoned with. The film could not have been made any other way.

This is a world of ballgowns, sequins and lace...but none of that diminishes the ability of its heroes to think clearly or take charge of their own fates.

As a whodunit, the film is fun and forgettable.

The documentary is clearly on the side of candidates, which is fine, but it could also benefit from a bit more scepticism and empathy for its auxiliary subjects.

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

A film doesn't have to have a message, or a moral; indeed if its only motive is mercenary then that's fine, as long as it entertains. Kraven just doesn't.

A shallow portrayal.

Knightriders represents the venerable director’s most personal and intimate work.

Although there are no truly outstanding performances, neither are there any weak ones in what is essentially an ensemble piece.

The weirdness of it is genuinely disturbing, building a sense of fear and impending danger.

There's no real involvement, or epic feel, though there is enough emotion to make it worthwhile.