Search: Starring Josh Brolin

Scott has gone back to source, bringing viewers the most refined product available.

Directors Joe and Anthony Russo use the length to explore more than one significant theme in depth and to shift tone markedly from hour to hour.

Infinity War is a clearing of the decks: opportunity for new characters and plots to emerge; opportunity too for some characters to move on.

Builds beautifully before losing its nerve, leaving a bitter taste of irony.

That it manages to get away with this at all is largely down to the supernatural likeability of Ryan Reynolds.

It is pretty.

Dune at least looks, sounds, amazing, though not always.

The grandeur and beauty of the place is set against figures of climbers, like black ants, across a white wilderness

As a snapshot of the influence parents bring to bear on their offspring it lacks engagement for the audience and takes the attitude that everyone watching should be enrapt by the self-importance Penn brings to bear.

Outbreaks of emotion get swung about like loose punches in a brawl - gung-ho yet completely missing the target.

Donner's era-defining adventure is at once lighthearted, serious, scary and lots of fun.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

As usual with big budget sci-fi movies, what is missing are characters that live and breathe.

Makes no secret about trying to be Chinatown, but surprisingly doesn't come off too badly.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

The characters seem as shallow as the waters through which they paddle.

Ambitious in its attempts to stitch Jack Kerouac’s biography through a patchwork exploration of both cultural and social modern America as related to his seminal book On The Road.

The ingredients may look to be all there but Reitman's effort feels too full of studio additives and overcooked.

Badly acted, badly directed, emotionally irresponsible and dramatically unconvincing.

For once, Allen's muse deserts him.

Whether the stars will align for the rejuvenated franchise is unclear, but for now there's a surprising amount of extraterrestrial fun to be had here.

In one of the finest performances of his career, Sean Penn is understated to convey finer feeling, yet passionate on the soap box to an inspirational degree.

Mexican director, Guillermo Del Toro, does not follow Hollywood's traditional approach to nature's abnormalites. Fear is suggested, rather than flung at the screen.

Against the whisper of wind and buzz of flies, the Coens manage to find tension in the subtlest of movements and cut the dialogue through with humour as arid as the landscape.

Half way through you ask yourself, why am I watching this film?

The veteran director brings more than enough to the table to make his version well worth watching.

Glorious, a hilariously stupid zombie fest that spoofs and honours grindhouse so much better than the tenuously related Death Proof.

Villeneuve sustains the knife-edge tension without a blip.

You don't venture into this steaming snake pit without balls of steel

There are deeper moral questions, ones sufficiently metatextual that I in the audience began to feel and fear complicity.

Where Roberts' screenplay opted at times for easy sentiment the Coens' writing is not only wittier but also as chilly as a late Oklahoma autumn.

There are loads of characters, tonnes of things going on, and little to no reason to invest.

In the end I found myself won over by the charm of this film's various creative idiosyncrasies and by the charisma of Brolin’s performance.

What we see is framed from the perspective of those after whom the chapters are named but we get the consequences of their visions too. We also see what they're afraid of, and how that intersects and overlaps is where Weapons is sharpest.

This is far from vintage Allen, yet it's still a cut above most similar dramatic work.