Search: Starring Mark Strong

Nuanced and thoughtful, alert to the individual suffering behind the headlines, cogniscent of the bigger picture.

With strong performances all round and gorgeous cinematography by Óscar Faura, it's a powerful piece of work.

Never really delivers the goods like it should.

This is an extremely well made movie, with exacting performances of the highest quality.

Who do you trust?

There simply isn't anything here that will surprise anyone who is a veteran of cop films, with characters' actions, plot twists, misdirections and revelations quite easy to see coming.

A nice study in group dynamic.

Berg's dilemma requires him to try and solve logical and ethical puzzles, and cannot be alleviated through the easy process of having him find Heisenberg likeable.

In its early stages, the film stands up pretty well. It’s when it reaches the blackmail stage of the story that it falters.

If you take it for what it is rather than what it was marketed as, The End We Start From is an interesting watch.

Life changing events are signaled so far ahead that tear ducts have withered by the time they explode.

Dismal.

McDonagh takes what could be a hackneyed tale of mismatched buddy cops and spins it to blisteringly funny effect.

We feel rather as if we're watching Springtime For Hitler but with real gas chambers.

For an uplifting tale about an ordinary man, who is not a recovering alcoholic, or a typical British waster, then check this out.

The characters are thinly drawn.

The kind of period drama that screams “festival launch” but doesn’t trust its audience enough to tell its story subtly or with any surprises.

This is a shivery thriller, made better by a disturbing lack of information.

Action moves at a pleasing zip with an early fight scene setting the tone with spectacle but no wall-of-noise aggression.

Even Banderas' character feels like a cheap knock-off who is not fit to polish the boots of Puss.

The film stays just on the right side of knowingly self-aware, excusing the major flaw in its basic premise without getting too smug or annoying.

In contrast to the stylised visual repertoire, The Golden Circle’s storyline is led by dolefully shallow plot twists and resolutions.

What begins as an Ian Fleming piss take ends in a Kill Bill blood bath

Evans tries hard to empathise with Robert, but the script, with its mixture of violence and sentimentality, is against him.

One admires the cleverness of it, while wondering if there really are people who live like this.

Makes its point clearly and evocatively.

Polanski has crafted something that already feels like a classic film, beautiful to look at, combining accurate period detail with a certain gothic expressionism and brimming with earthy characters and high drama.

The script by Peter Berry is sharp, tight, witty and intelligent, matched by supremely confidant actors, working in the Prime Suspect style of disciplined individuality.

Probably Ritchie's boldest and most interesting film to date, even if it is also pretentious enough to give his detractors yet another rope to hang him by.

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

Light and dissatisfying.

What’s missing is a plot.

A more action-led and contemporary take to satisfy modern audiences, with a hero who's as much a swashbuckler as he is a stuffy intellectual.

The film soundtrack contributes neatly to the sense of alienation; of setting apart from the hearing world, with background track alternating conventional melody with something far more ominous.

A really enjoyable yarn in the Princess Bride mold, told with panache.

Overall, the film looks fantastic. The special-effects work, which took a year of post-production to complete, wouldn’t look out of place in a movie with ten times the budget.

The cool colours and muted emotions of this John Le Carré adaptation fit the 1973 Cold War backdrop perfectly and are appropriate for the murky world of moralistic shades of grey.

Phantom chimes at night produce an atmosphere that could tumble into horror movie territory, but the real damage is done during the day.

This fine array of actors is charged with safeguarding a plot as weak and confused as a newborn kitten.

Well framed and assembled, with plenty of good performances.