Search: Starring Luke Wilson

There are some nice set pieces here and there but, like the air on Terra, everything feels stodgier than normal.

A series of pieces that each, in its own right, has some merit, but which together never quite gels.

Lawrence doesn't have the style of Will Smith or the manic range of Chris Tucker.

Brad is a painstakingly developed character and one who is often sympathetic, if not exactly likeable, but he's also a character we've seen many times before.

The script has a sense of humour that doesn't dazzle with punchy one-liners, but is consistently witty, without showing off.

As a visual piece of pop video-influenced whambammery, it is perfectly pitched.

There’s something inherently endearing about the way that Nikou always managed to conjure timelessness in his worlds. They’re more analogue than futuristic but ultimately hang in a sort of limbo of ‘here but not quite now’.

The story moves like treacle, with the action bogged down and emotions bottled up.

A film well worth seeking out, or rediscovering, if you like stupid films that are actually made by very clever – and very funny – people.

Witherspoon treads water. It's a shame.

Reese Witherspoon is irresistibly wonderful.

The splintered pain of grief interrupted marks out the directorial debut of Reed Morano.

Makes an important contribution to the conversation around sexual violence.

If those were the days, boy, they moved slow.

At heart a deeply misogynistic view of female empowerment.

Wilson has not one, but two expressions - miserable and embarrassed.

For a film whose lead character makes a hobby of worrying about weak plots and clichéd endings, Ride pulls out all the stops to follow formula.

Stiller, Paltrow, Murray and Luke Wilson needn't have bothered. Their characters are stuck in ruts.

What gives this film an edge over conventional rites-of-passage movies is its oddity.

The end product of a long and dismal trend in American indies, where the effort to create art just like the art one saw last week has produced a formula that is exponentially recursive.

Empathy with a victim is the key to scaring the living daylights out of an audience. Carpenter fails to do this, because his heroine spends the entire movie as confused as everyone else.

A solid and unpretentious piece of genre cinema.

Low-budget charmer shows a different side and range to Owen Wilson.

You Kill Me is light-hearted, never really laugh out loud funny but always amusing.