Search: Starring John

Oscar Isaac’s poignant performance pulls us in from the get-go.

Josh Radnor is adept at creating flawed characters who nevertheless prove sweetly likeable.

The presence of completists and super-fans is helpful, because you do not need to be either to enjoy Life After Flash.

Life Of Brian manages to go beyond mere satire and silliness and tell a story that has power of its own.

What Lowery is really interested in is the human story that each of these people has to tell.

It's almost as if the project ran out of money or whole scenes were cut to preserve the runtime, as after setting up some juicy ideas, the film cheats us by ushering in conclusions which leave the words 'but how did that happen?' hanging accusingly in the

McConaughey works above and beyond his usual remit to remind us that he can also convey a formidable intensity and subtle sensitivity.

The Lion In Winter is a film made stunning by the performances of Hepburn and O'Toole. They both thrive on James Goldman's tight script.

It quickly becomes clear that Favreau’s approach to bringing the same lifelike animal CGI from The Jungle Book to The Lion King lacks one prime element that made the former a success – emotion from a human lead.

It’s a daring approach for a first feature.

Shot in vivid colour and interspersed with some terrific songs, this is a formulaic story but a hell of a ride.

A film full of great stories and packed with details which will fascinate fans.

If you don’t have a clear sense of who she is when you go in, you may come out feeling none the wiser.

The spirit of enquiry comes to the fore.

Overall, the film retains its power and impact.

Crumbles under it's own epic intentions and lack of cohesion.

You don't need to be a fan of board sports to enjoy the latest documentary from Joe Berlinger, but if you are you'll certainly get plenty of added value

Looted is all at once a localised crime drama, a tale of a difficult yet loving father-son relationship, an exploration of escapism's price, and a social realist anatomisation of a community.

Has its moments of genius.

The Return Of The King is too long and slow. It has about five endings.

This is indeed the war of worlds

The film comes into its own because of Gyllenhaal's non-judgemental perspective, even sympathy, for the small suffocations of motherhood.

There is no cohesion and little comprehension.

Janusz Kaminski directs with an originality completely lacking in churn'em'out horror flicks, using bled, grained colour to create a look that peels the lustre of life from New York's dark soul.

The inevitable sadness is balanced by so much joy and energy that it's a delight to watch.

No one really acts, except Ifans, who can't help being funny, even when he's mad with rage.

Walker-Silverman is in no hurry to reach that encounter and he makes slipping into the rhythms of Faye's day a thing of gentle joy.

Well crafted, brilliantly delivered, and lots of fun to watch.

This is a film that will keep finding ways to make you feel sad.

Lanthimos satirises our obsession with relationships and modern day electronic dating rituals although the results are not nearly as funny and knowing as the director clearly thinks.

Played with outstanding chemistry, Cain and Hatcher’s dynamic is the heart of the show.

Verbally, physically and emotionally brutal. You'll come out melted like ice cream.

You can't help feeling British audiences may well embrace the film's oddness - and blatant anti-American stance - which while not always successfully executed, means there is rarely a dull moment.

One of the strongest documentaries of the past year.

A creepy one-off.

Without question an eerie and ambiguous piece.

The narrative pushes along at a reasonable pace... but only really picks up when the boys start becoming famous, which makes and breaks their future careers.

The effects and the action and the creatures are fine. The script dies out.

Boatwright has done an effective job of taking a group of people often perceived as anti-social and revealing the social bonds that underlie their activity and creativity.

A joyous genre mash-up of John Hughes-style adolescent anxieties and drill-bit depravities (call it 'torture prom'), all married in McLeavy's wonderfully unhinged turn as a pretty-in-pink princess of perversion.

When it becomes a horror movie it is a good one, but when it is not a horror movie it is a great one.

If it wasn't for John Hurt's astonishing performance and Richard Kwietniowski's dark sense of humour, it would have little to recommend it.

The most romantic thing about this movie is the lovingly shot images of Seattle.

Courageous and uncompromising

Where is the anguish and the anger of this man whose paintings screamed at life’s abuse and the absence of love?

Pohland - working with an impressive script by Oren Moverman and Michael A Lerner - manages to orchestrate a musical path between the double storyline that finds unity through the creative process.

After the hard to swallow entrée and adagio, these variations do lead us to a satisfying coda.

The splendour of the artwork is not matched by the tale being told, which is of the paint-by-numbers variety.

The set pieces are beautiful, with wondrous scenery and lavish costumes, which bring this period drama to life.

The sex... has all the choreography of Strictly Come Shagging rather than being the exploration of lust the title suggests.