Search: Starring Liam Neeson

Neeson does his best to bring something different to the character, to make it more than just a retread of his work in Martin Campbell’s Memory, but he’s up against it.

All brawn and very little brains.

Nolan has gone beyond DC Comics into a psychological no-man's land where lessons can be learned.

If you’re looking for explosive, mind-boggling special-effects driven set-pieces coupled with broodingly patriotic one-liners from Neeson et al, you won’t be disappointed.

Breakfast On Pluto's tone is a discomforting mixture of comedy and tragedy.

Once - and if - you accept that this is a B-movie plot, it is possible to find a level of enjoyment from its undeniably A-movie trappings.

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

If you’re looking for big-budget, popcorn entertainment, then Titans certainly won’t disappoint.

You might be forgiven for thinking: oh no! This is just Taken with snow! In every sense. But then, the film turns and something not quite right that you had begun to notice about it begins to take hold.

Intrigue peels away to reveal darker, deeper layers of complexity and corruption. The plot explodes.

One can't help but think that there's a great film in there struggling to get out.

Excalibur is a film whose sheer scale does justice to its subject in a way nothing else has come close to.

An intriguing ‘what if’ that only comes unstuck at the end, as the movie doesn’t know how to resolve itself after a kinetic climax.

The acting is ensemble, which means no-one stands out and everyone chips in. Day-Lewis, unrecognisable behind a 'tache wedge, is the most memorable, due to The Butcher being a bigger sicko than anyone else.

The Grey is essentially a Boy's Own film for adults, but its air of genuine menace transcends the sort of schtick that often sinks the genre

Remakes don't have to be ten times the size. They usually are. And ten times worse.

With plenty of meat for its fine cast to chew on, the film is often intense but never loses its nuance.

Packed with powerful archive footage, this is a film that immediately creates a powerful sense of time and place.

The film is well made, without being innovative.

The battle for Jerusalem is full of jaw-dropping, breathless action.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

Just about the most boring fantasy film ever made.

The pace is frantic, the colours electrifying and the storyline zippedy-who-dah

It feels middle-aged, lazy and reliant on stereotype.

Mixes solid, well established material with poorly substantiated ideas and a tendency to whimsy.

There's plenty of room here for an interesting story. Unfortunately, first time writer/director James D'Arcy has no interest in developing one.

A sterling performance from a silvery Liam Neeson.

If it wasn't for Neeson, this would have yawned itself into unconsciousness.

Bayona knows how to turn the screw of sentiment, not so much jerking tears as gradually filling a well of sadness until it can't help but spill out.

If we dare to be stupid, and The Naked Gun does, we can have a pretty good time.

A classic case of an intriguing film concept gone to waste.

It rocks the chocks and never allows tension to slacken for a second

Like the best of the Pixar and Looney Tunes output, Lepeniotis doesn't dwell on his visual gags waiting for each one to get a laugh, instead frequently throwing them out one after the other to good culmulative effect.

There’s no doubt that the film-makers know this world inside out and their cameras dig into every corner of it.

Energy, enjoyment and a refusal to be bothered by purist sensibilities make this a rollocking good adventure.

Pain has a price

It is not a happy ending, but an affirming one, in that it shows that it is possible to reject mass genocide and that good men can save the world entire.

Its vision of the western frontier is a bleak one, full of grim railroad towns and the dusty bones of unsuccessful settlers, a place where even missionaries cannot be trusted.

It looks as if Scorsese is battling his own demons, oblivious of the pain he inflicts upon an unsuspecting audience

The dialogue is carved in marble, as if the power of speech never progressed beyond Ronald Reagan and the art of the autocue.

Zips along so fast that you don’t really have time to question the morality of it.

There is a lot of action but it is tame, predictable and repetitious.

A classic example of a workmanlike piece given enough polish to make it stand out.

Recent Hollywood heist films - typified by the Ocean's franchise - have been largely concerned with shiny surfaces, gloss and froth but British director Steve McQueen is much more interested in what lies beneath.

Worthington is as nebulous a charisma void as ever, sucking all the life out of everyone and everything around him, while Liebesman is reasonably capable with action but proves a total hack when it comes to handling anything remotely resembling drama.