Search: Starring John

For all the charm on show, there’s still too much cheese.

Pooley and cinematographer Richard Bluck bring the story to life - along with the vivid possibility of death - and the big screen is the place to see it.

Uncompromising, visionary and enormously enjoyable to watch.

You have to care for these people to give a damn. That's hard.

Shino is interested in memory and experimentation, ditching traditional narrative in favour of a Super-8 stroll through the echoes of the past.

Big Miracle isn't going to win any awards for originality or become anyone over 12's favorite film, but it serves its purpose sincerely and does what it does extremely well.

Everything is so hurried that the wheels begin to come off.

It's true what they say about violence. Too much and you become immune.

Every horror film of this type needs a strong villain and here Barbara Steele gives it her all.

It isn’t just Blade killing a different ‘monster of the week’ every episode (cynically, this would have been more popular), it’s a big inter-connected canvas in the style of The Sopranos.

So much depends on Freya Park's performance as Tasha. She achieves something many young actors would be afraid to try.

Yes, the acting is suspect, the script hit and miss and the whole endeavor undertaken on a wing and a prayer, but Bloodstorm never outstayed its welcome.

The film is rarely actually scary but it contains enough gore to please the average genre fan.

Brilliantly original.

The story-telling is low key and muted, as befits the characters, but the unremitting sense of melancholia weighs heavily on the film and the viewer.

Visually arresting, impressively taut and enjoyably idiosyncratic.

There's potential with no pay-off, desolation with little downslide.

While it is a remarkable and very vibrant portrait of an esteemed artist at one of the most famous and influential periods of his career, there are maybe too few songs for fans.

Though its central narrative is slight, the film delivers it well and is refreshingly self-aware.

Ratner gives her ample room to explain her take on the world.

An air of brooding menace suffuses the film throughout.

Apart from the sheer dullness of these two, the script by director Don Roos doesn't go anywhere. It starts at A, hiccups on B and ends at C.

A mood of barely suppressed violence hangs in the air, like a threat of rabid wildlife.

With a post-apocalypse setting - deserts, service corridors, junk yards at night - the film lacks the vision of Silent Running.

Tempting though it might be to think, this is not a mockumentary. Brand is serious.

Brawl In Cell Block 99 is one of the best action films of the year.

With a title like this you know pretty much what to expect.

Succumbing to rather too much melodrama in the final third, which undercuts the chilliness of what has gone before, this is nonetheless an interesting debut that promises better to come.

Brilliantlove falls hard on its bare backside between the two stools of pornography and erotica.

You could have written the script on the back of Ray Winstone's betting slip

For some viewers the build up of devious plot twists may be a little overwrought but it is nevertheless an effective way of skewering the cynical viewer.

Like much of Burroughs' writing, the film has a shaggy dog tale quality, rambling along in a way which does not at first seem nearly as informative as it actually is, then bursting into moments of brilliant radicalism.

The people encountered while working as a cinematographer for different documentarians, shooting all over the globe, are woven into a fascinating, irregular net of meaning.

There is nothing glaringly awful about the film, it's just that it's very middle of the road.

A serious lack of quality across the board.

In sheer entertainment terms this is Moore's best yet.