Search: Starring Jonathan Pryce

Every scene is brilliantly realised and inhabited by unforgettable characters.

An accomplished portrait that presents something much more human than we're used to in this context.

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

The true fault lies with the script, which brings no life to the real, or indeed fantasy, characters.

Harry and Luke Treadaway frankly took my breath away.

Dark Blood is an offbeat film no one would call formally perfect, yet the depths it gutsily goes for and its strange vein of comedy make it one to think about and enjoy

It is impossible to be down on the film when the many songs radiate such wit and style and keep the whole show rolling.

Great cast, great dialogue, great Baldwin cameo, great movie.

A gem for lovers of great show tunes.

It's rare to see a film that is at once so playful and so openly political.

The moments of distinctly sub-Woody Allenesque humour make you dream of what might have been.

A treat for the senses from beginning to end.

Gilliam’s script cannot quite stand the excesses of his own imagination.

Frustratingly, the film isn’t really concerned with its setting, and the large bulk of the plot is a time travel caper that’s solvable within a few minutes of it being revealed.

Epic, sprawling and inspirational.

Coogan is well cast in this tricky role, moving easily from humour to heartbreak..

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.

Jonathan Pryce conveys the burden of inner conflict with exceptional subtlety, as James Wilby carries Sassoon's intellectual fury with fortitude.

Renaissance is blessed with a script that not only feels like genuine noir rather than a hastily written pastiche, but also is not subordinated to all the visual razzle-dazzle.

Frankenheimer's direction is so flawless and masterful that every frame of every scene flows effortlessly.

War by any other name

Everything hangs on Billy, but he's empty.

Wainwright's style is crude... slow-motion water droplets are constantly about to hit the deck, while white doves flutter toward high windows.

The Two Popes is totally captivating when Pryce and Hopkins simply talk and react to each other.

Dennie Gordon's 2003 version resurrects the worst aspects of English class snobbery in a film that makes you squirm with embarrassment.

Elegantly put together and watchable throughout, but falling short of the potential offered by this fascinating case, Woman In Gold has the shiny appeal of Klimt's work but none of the depth.

Björn Runge is in no hurry to reveal his characters' faults or their history, letting his camera linger on Close and Pryce, so we can see the thoughts that swim on after the words die away.

An ostensibly rousing speech is aiming for Braveheart but has all the grip one would expect from an address to an adhesive sales conference.