Search: Starring John

Scott has gone back to source, bringing viewers the most refined product available.

The movie is fun, without being furious.

David O Russell's latest - a shaggy dog mystery with a deliberate air of penny dreadfuls - could do with more straightforward narrative and fewer screwball convolutions.

Stephanie Allynne and Tig Notaro are impressively attuned to the humanity of their characters.

Settle in for the Bill & Bob Show. They're back and they're better.

Who are those grown-ups weeping in the back row? Ignore them. They're historians.

If you're 14, you may feel that you have finally found a film you can identify with.

Like its central character, then, this is beautiful and brave even if it fails to fully realise its potential.

It takes real craft to hold something like this together for 75 minutes - not to mention tremendous effort on Campbell's part.

Delicately judged and interspersed with moments of gentle comedy, what may sound like a saccharine story of friendship against the odds manifests onscreen as something much more intelligent and nuanced.

Landis keeps the humour dry, the speech naturalistic, yet his keen sense of the absurd provides for some laugh-out-loud moments.

Addresses existential terror with a pleasing whimsy.

This is entirely Duvall's film. He gives himself a T-bone of a role, which he exploits with due diligence and compassion.

Satire that resembles its target this closely risks losing its humorous value - after all, one could equally well laugh at the real thing.

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

I cannot remember the last time a film made me cry and laugh out loud half a minute later, especially not in public. The Artist did that.

For those who get into the rhythm of it, this is an instant classic.

Richet is at his best when moving quickly - he's a director in love with momentum.

Brilliantly claustrophobic and eerily entertaining.

It is good to see the women taking charge, though this happens sufficiently often in Asterix that it is close to becoming a trope in itself.

The pace squeezes your windpipe; the action pulverises your senses; the plot double crosses your preconception

Atomic Hope is intriguing as a portrait of a movement, but falls well short as an interrogation of a scientific proposition.

This is art masquerading as trash, and doing so with sufficient flair to appeal to fans of both.

That it succeeds is due to Cornish's lightness of touch and terrifically naturalistic performances from all the young people involved.

The fact that At Land works so well reminds us that Meshes was no accident.

This isn't just a film about sexual abuse and the culture of stigma and doubt that surrounds it. It's an examination of the wider issues around the vulnerability of children.

Australia undercuts its cinematic insecurities with heart, soul and imagination.

Save your grey matter for coordinating the movement of your hand to your mouth, or your jaw to the sticky cinema floor.

The Aviator is a beautiful picture with flawless performances, wonderful cinematography and extravagant mise-en-scene.

The Awakening is a film that will keep you guesing as multiple possible solutions to its puzzles appear and disappear.

Once they hit the road, the script goes away with the pixies.

As a costume romance, based on real events, it is inept.

As technically accomplished as it might be, this is a ponderous and interminable experience.

The script takes an adult approach to emotions, even as it shows how childish a situation can become.

A melancholy and, in places, excruciatingly slow take on the tale with virtually all the comedic moments pared away.

Anything can happen and nothing makes sense and reality is a word as plain as it is pointless

Rattles from one incoherent action scene to the next.

Anthea may be dull, but she’s nice. Michael may be passive, but he’s sweetly charming. You care enough about them to wonder whether they kiss better than camels on heat.

Where these genius guys who put All Tomorrow’s Parties together succeed beyond expectation is in capturing the fierce and beautiful commitment of everyone involved.

This isn't a film for those interested in the nitty gritty of how work like this is assembled. Rather, its focus is on the philosophical and experiential issues associated with the rise of the machines.

An entertaining, intelligent film about how our choices influence our lives.

For a movie that treats penetration with military precision, it is not as radical as it appears. Traditional rites-of-passage sentiments surrounding the Prom remain intact.

The level of humour has plummeted.

A charrming and funny improvement over the second and third slices.

American: The Bill Hicks Story provides us with a wonderful glimpse behind the curtain of performance and lets us see the sensitive, warm, patriotic and fiercely intelligent man we all suspected lay beneath the act.

The lack of any real ‘pop’ to the proceedings is rooted in the fact that the whole film is played as a flashback.

Farjado's style is immersive, capturing both the sense of chaos in the district but also finding time to linger on fine details, giving a vibrant sense of place.