Search: Starring John

The script excels.

Zam Salim's direction and control of his short tale is exemplary

Paul Rotha's film is impressively rounded and researched in how it considers multiple perspectives and interrelating elements of infrastructure, economy and commerce.

If you're a fan of Will Ferrell films you may find it moderately enjoyable.

The film is a visual treat, boasting a well-realised steampunk aesthetic and inventive visual flourishes.

Carell is extremely impressive here.

Otto's sensitively structured portrait of an engaging Peter Pan draws us irresistibly into his world.

There's a proper sense of adventure and the scale of the story is appropriate for a great legend. Unfortunately the sword it all revolves around looks as if it came from Poundstretcher.

Rebecca Chaiklin and Donovan Leitch's documentary is a sobering reminder of what it feels like to be disenfranchised, young, poor and mute in what many commentators call 'a police state'.

Bogdanovich allows the scenes to play out in near silence as the brilliance of the lighting, staging, and acting leave the viewer breathless and trembling.

A rather dull action Western.

Schwarzenegger wisely tones down his previous big-screen persona and slips into a sort of late-in-the-day charm.

Though the destination of The Last Station holds some interest, much of the journey is far too dull.

A must-have for crime drama junkies.

Penfold and Hearn keep their camera close, hugging tight to the emotional depth provided by Harris and Wareing.

On the whole, LVK is puerile silliness - gags, girls and gore with a catchy title and little raison d'etre.

A classic three-tissue melodrama.

An awe-inspiring experience.

The impression it is gives is that absolutely everything recorded has been included, with nothing left on the cutting room floor.

Morton continues to show her acting talents with a substantial - if not substantial enough - role and Malkovitch is an adequate counter balance to the very considerable presence of Depp.

Drifts dangerously close to irrelevance.

Feels less experimental and alternative than, well, the zombie genre demands.

Considering the massive cast of characters and overlapping plotlines, David Edgar's adaptation is little short of a masterpiece.

Schizophrenic in its approach and vicious in its intent.

Worth getting nicked for.

Many layers of fascination and enjoyment here and on every level subtleties of perception, not least with the central premise.

Although the pacing is sometimes poor, the sentiment - while occasionally straying towards the sentimental - is heartfelt and sweet spirited.

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

Spielberg, as he is very good at, goes out on a limb to walk a tightrope of his own making between melodrama and sinewy storytelling.

As sweet as it is bitter.

The piecemeal nature of Giovanni Boccaccio’s source material only adds to the sketch show feel, with as many moments missing the mark as hitting it.

Kicking off with a fine one-two of gags, inventive credits and intelligently paced laughs, Little Manhattan thankfully has a deliberate game plan.

The film could be called "old fashioned" but that is rarely a bad thing.

Jonathan Lipnicki is atypical of child stars in the sense that he can be quite annoying.

The architecture of the film - and buildings and angles are an integral part of why it works so well - rests upon the twin pillars of Katie Johnson and Alec Guinness.

Eytan Rockaway balances on a thin grey line between black and white, truth and lie, and between good and evil.

Ray feels like a real person plunged into an increasingly absurd situation, which is ultimately the source of a lot of the film’s comedy and its sometime tragedy.

Plotless, fluffy, pseudo-sentimental rubbish.

Technically impressive, indeed ground-breaking.

Interestingly, it eschews the use of drab colour filters to let us know when we’re witnessing flashbacks to the conflict. These are obvious enough, and the fact that they take place in bright sunlight makes them much more visibly a part of the real world.

Coppola has style, but sometimes employs too much of it.

Memo to filmmakers: If you’re looking for a failsafe plan to make a delightful film, try showcasing the breadth of Emma Thompson’s talents.

There have been a lot of LGBT history documentaries around... this is by far the best.

Although the cast all appear to be having a whale of a time, it doesn't quite translate to the amount of laughs it ought to.

Sarah Kernochan's screenplay is precise and doesn't shy away from the real-life absurdities we all encounter.

A treat for the senses from beginning to end.

Race is a complicated issue, and knowing the past, Daniels seems to say, is as important as making up your mind to act in the present.

Johnson does impressive work, rarely getting to pause for breath and carrying her character through a difficult arc.