Search: Starring Johnny Depp

Wonderland? I'm afraid this Alice has gone for a Burton.

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

As a history and celebration of Brando's life and eccentricities, it's hard to beat.

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

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.

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.

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

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

A western for sleepwalkers and dreamers.

I think this is the best film made about the Mafia.

By contrasting an artificial man with the real but unsubtly false men and women of the world and their queer existences, Burton presents satire with a dull thud.

Alternately hilarious and touching.

Grand chases and massive effects.

Gilliam uses voice over (too much?) to give a taste of the Hunter S style and help explain what on earth is going on.

It is difficult to find anything bad to say about a film that treats an interesting subject with such respect and ingenuity.

Hunter S. Thompson and the crazy stories of what the pair got up to in the USA are an obvious highlight.

Rachel Talalay’s attempts to give Freddy’s Dead a darker, grittier edge are lost beneath the clownish Freddy shenanigans and ridiculous death scenes.

Judging by the violence of the crimes, the killer cannot be taken seriously when finally he is exposed.

What's fascinating about Gypsy Caravan is the way Dellal becomes involved in her subjects' lives, enabling the viewer to do likewise.

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

In the woods, we are firmly placed in the shoes of the children and slowly start to understand the adults through their songs.

Morton continues to show her acting talents with a substantial - if not substantial enough - role and Malkovitch is an adequate counter balance to the very considerable presence of Depp.

There is no cohesion and little comprehension.

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.

Potter manages to imbue Suzie's story with a feeling of anticipation, as if her life is fresh and innocent.

It’s aided by Ryuichi Sakamoto’s highly evocative score, which locates it in time and space as well as providing a dramatic undercurrent to the action.

If Ustinov emphasised the humour of Poirot and Suchet the meticulousness, Branagh manages to bridge the two, while also bringing an unexpected note of soulfulness and melancholy to his performance.

. Walken is more pantomime villain than genuine menace and Depp spends the entire film looking as though he regrets signing up for it.

A Nightmare On Elm Street remains an atmospheric and genuinely unsettling film with a chilling, universally relatable central motif: sleep gets everyone in the end.

Polanski and Depp conspire to plant seeds of doubt in the minds of the audience.

Rodrigues's trilogy is a visual feast of posturing machismo, during which all sense and sensibility is discarded in favour of slow-motion stunts and death from a thousand angles.

A genuinely entertaining outing for the series, managing to generate both novelty and surprise while preserving all the best features of the preceding pictures.

Visually the film excels. There are scenes that lavish the mind's eye

Basing his character largely on Keith Richards and looking like a refugee from Adam Ant's Dog Eat Dog video, Johnny Depp crashes through the film, chewing up scenery and spitting it out with aplomb.

Visually, as well as in certain performances, the final instalment of Disneyworld Goes Hollywood has a healthy infusion of surrealism and a sense of humour.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

Johnny Depp has rarely been better.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

As a thriller, it is non-conformist and packed with surprises.

You may suffer mild face ache. This is caused by persistent smiling

At a time when ghouls have been relegated to cereal packets, Burton resurrects an Edwardian fascination with horror.

Johnny Depp gives one of the greatest performances of his career.

There are moments of distress, high tension, but there's never much doubt that there will be a happy ending.

Rylance is superb throughout in a role perfectly suited to his talents.

This gentle, beautifully made film has an understated sensitivity that runs right through it.