Search: Starring John

The film plays on its clever concept, forgetting that its audience wants the agony to end and the action to begin.

The film is neither fish nor fowl, one thing or another, comedy or tragedy. It wavers between vulgar and vapid.

Sadly the main story... is pretty dull, uninspired stuff

A no-holds-barred, tightly-wound slasher movie that consistently ups the ante and the shock-factor with sadistic relish.

The success of this film is in its attention to the sort of small human details that create the boundaries of our day to day worlds, the things we hang onto and use to define normality.

Delivers the goods with conviction and not a hint of apology.

Clearly a labour of love, this is a fitting tribute to an industry that has brought dreams to life for generations.

For all its flaws - and it has many - Crimes Of Passion is a vibrant and unforgettable film.

While many a primetime drama has ended up drowning in soap, CSI could do to take a shower in it a little more often.

If the plot development lurks on cusp of credibilty, the characters feel genuinely complex and are given a real sense of humanity by Tomei Reilly and Hill.

Ian Anderson's script relies heavily on those words that can't be written down without ***s and the acting would enhance a timber yard.

Thornton's writing is well-observed, creating characters who, while embodying all the usual white trash traits, have a three-dimensional quality to them.

It’s Sheen’s ability to humanise the brilliant-yet-volatile legend that hits the back of the net hardest.

Clings steadfastly to rom-com form.

A refreshing change from all the hacked and mangled body parts that seem to be the only requirement for a horror film these days.

It's important, when criticising some of the more clichéd elements here - the dark versus the light, the Tolkein parallels, the quests - to bear in mind that this film is aimed at older children, not your average jaded film critic.

Dark Shadows lacks any real drive or momentum, struggling to sink its teeth into a compelling story or plot

For those who have seen the originals, stay away.

Strong on style and remarkably assured.

Save the planet, buy Citizen Quartz watches and eat at McDonalds!

Screen humour has dropped below the level of funny-ha-ha into an abyss where mechanical failure and humiliation are the stuff of legend.

Daniel Zelk Berk’s feature has all the essential ingredients of a political thriller - a moody grey-blue filter, a tingling, foreboding score and people throwing back whiskies while staring drearily into space.

As a reconstruction of one of the great moments of a long and bloody war, this could hardly be bettered.

While offering some notion of Beckett’s feelings towards key people in his life, his works feel very underrepresented.

When a film is made with this much love, its goodness shines.

As the story glides gracefully from pitch-black comedy to complicated tragedy, you are in no doubt this is a film which happened at the right time in the careers of its two central stars, and for cinema.

John Phillip Law is a bit wooden in the central role, though, like Roger Moore as Bond, he compensates by doing one particular expression really well.

What [director Proyas] does here is juggle genres and lop the dead cells from the brains of old cliches.

A stylish and engrossing mystery - an immature, yet energetic explosion of storytelling ideas.

The story is told more through symbols, the expressionist, the surreal, rather that through the harsh binary abstractions of language.

Lines like “Funny how when the chopper falls everyone just accepts it” are disturbingly prescient.

The themes of friendship and teamwork are targeted at young audiences but it zips along at pace - a reminder that you don't need super-complex plotting, so long as you deliver on laughs.

Everything here looks grimy, as if the film itself had been lying around in poor conditions for years, and colours and patterns are artfully mismatched.

A western for sleepwalkers and dreamers.

A grim picture of a nocturnal city where everything feels temporary.

The film becomes one long anti-climax

Cinema in its most metal form.

There are a host of good performances in Scott Windhauser's earnest thriller, but the story and dialogue are so ridiculous that the stars really have their work cut out for them.

The adventure of teenage life is represented in all its glory.

The tight-knit production unit brings natural chemistry to the film.

The use of that Super 8 is crucial to the feel of the film, already giving it the emotional quality of something that is remembered, even though we know on an intellectual level it is a contemporary item.

It's essentially a character study - the trouble is that there's not much character there.

The film is orchestrated at perfect pitch

Part of the charm of Devil Girl From Mars is how seriously the movie takes itself.

It’s what one might expect if somebody poured the early 1970s into a blender and then threw the resulting mixture at a screen.