Search: Starring John

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

The Conjuring is in its biggest state of non-belonging since its beginning.

Coppola may have made films of a more spectacular nature but here he makes a virtue of a introversion - so that the film's horror moment is all the more vibrantly terrible when set in relief.

Perfectly captures the eerie atmosphere of Neil Gaiman's much loved story.

Corpse Bride is even better than The Nightmare Before Christmas. It displays the imagination of a man, haunted in childhood by the Brothers Grimm, with a twisted sense of humour, steeped in 19th century romanticism.

Taken as a straightforward comic horror movie, this feels too derivative and clichéd. Taken as homage or pastiche, it's not nearly funny, knowing or camp enough.

How it feels to take credit for something you haven’t done is one of the questions Coup! invites us to contemplate.

It's a delight, one that earns its place in a cultural canon.

The performances reflect Robbins' upbeat approach and are as enjoyable as they are inspired.

The 'love' on offer in this romcom that marks yet another notch of disappointment on Steve Carrell's career is neither crazy nor stupid, just cynical and schmaltzy by turns.

Detail abounds. Glorious detail.

Even though the physical violence is kept to a minimum, Losey uses the sound of a riot to help feed the mounting oppression, mirroring the psychological turmoil within Bannion himself.

This is how the film plays out: loose and jumbled but still somehow telling a story. It's a style that suits its subject perfectly.

Waters can't keep a straight face. His drapes are freaks; his squares are pegs.

The complexity of this multigenerational chiller is difficult to follow and sinks into the darkness of the waves.

The plot is borrowed from a Sexton Blake penny dreadful, with fresh gags and terrific performances.

A world away from Hollywood now, Bloom shines in the small independent films that seem to be his first choice, and this is no exception.

Unfortunately, for all its strong ideas and well developed themes, Cutter's Way never quite succeeds in engaging with the viewer.

It's a potent idea for a film, and Deodato pulls it off well, with taut pacing and montages which contribute to a growing sense of disorientation.

It may be full of wonders, but The Celestine Prophecy is untouched by the miracle of good humour.

Certain Women is a film suffused in uncertainties.

There's no doubt that this is a well-made documentary, but it feels like there's been outside tampering.

It's a slick and intoxicating vision to say the least.

The film is aptly photographed, with dingy lighting and somewhat inventive setups.

As if it's not bad enough that Chef is marinated in sticky sentiment, Favreau's occasional attempts to sprinkle in heavy-handed drama make for a stodgy mix.

One of the key plot developments in the film is a process by which you can reverse time and live a day all over again, sadly an option not available to filmgoers yet.

Screenwriter Bill Condon and director Rob Marshall have retained the spirit of the original.

There are too many ideas here for a film with such sketchy, one-dimensional characters.

Though not entirely successful, Lee's adaptation certainly has balls.

Weber's discretion smothers gossip and edits anecdote.

Craig Shilowich's careful scripting avoids all the usual mental illness cliches and hystrionics to help us sympathise with her even in her most unpleasant moments.

You have no idea how enjoyable this is

The film breaks the rule that says Winston saved us, he cannot be criticised

To call this Brit flick too clever by half, flatters it.

Scruffy and scarred and only inadvertently dashing, Crepsley has none of the glamour generally associated with vampires today, though John C. Reilly has no difficulty in making him compelling.

Stella is a gleefully crude dyke who could give Malcolm Tucker a run for his money in a creative swearing contest.

There is much irony on the theme of generational gulfs, internet obsessions and the nature of creativity and culture. Unfortunately none of it rings true.

The action scenes in general are well put together, and good use is made of the potential for things to go wrong in space without resorting to too many familiar devices.

Ridiculous doesn’t quite cover it.

Be prepared for scenes you finish in your own head to haunt you.

A good wee film.

A brilliant central performance from Robin Weigert.

I can hardly remember a movie more spectacularly ill-timed.

The story doesn't make sense.

Done with enough with humour, panache and clever editing to justify a watch.

There is no dialogue - a clever trick which adds to the atmosphere - and sound and music are used to good effect.

You really believe that you are there with these people, living in their world.