Search: Starring Max Von Sydow

Cut down from the six-hour version made for television, there is still plenty to digest here and nothing feels rushed.

There really is only one person in the world who could play Conan, as sympathetic and brutal as he is, and Arnie definitely pulls it off.

Bertrand Tavernier’s 1980 curio Death Watch remains a chilly and enigmatic film, one which is hard to love but not hard to admire.

Competently filmed and acted and, by all accounts, faithful to the novel, it’s the story itself that hinders Desert Of The Tartars as a piece of cinema.

The framing of the atrocities of war through the eyes of an innocent is a tried and tested device – perhaps a little too much so – and there’s nothing particularly new about it here

Defies convention.

At 12, Regan was a helpless child in 1973; in today's world we instinctively grant her more agency so the territory between self and demon becomes more obscure.

The strongest features of the of the film are the performances by Max von Sydow and by Sandra Bullock as Linda, Oskar's mother.

Max Von Sydow's magnificent Emperor Ming is a template against which all future alien rulers have had to measure up.

Elegantly constructed and shot with the same apparent carelessness which turns out to be something much cleverer, Hannah And Her Sisters is a film which will take you by surprise.

It is opaque in the style of Seventies art house movies, with an energy that leaps out and shakes your bones.

A simple piece of mindlessly gratifying entertainment.

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

Flashy future technology and architecture has been cleverly interwoven with the familiar, even the old-fashioned, to create a world which we can believe is not too far away from our own.

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.

All the boxes have been ticked, but with a pen all too quickly running dry.

An effective exercise in giallo style.

Hicks's use of flashbacks is ingenious.

Playing a game for your life is a beautiful metaphor. Of course, it wouldn't have been the same in a squash court.

Even when one has a rough idea of where this mystery thriller is headed, the devil is in the detail, and each turn of the screw is handled with the sort of deft craftsmanship that becomes a pleasure unto itself.

Stands out in the Bergman canon for the beautiful cinematography by Bergman's long time DoP, Sven Nykvist. The haunting contrasts suit the wild isolation of Faro down to a tee.

While its thriller elements deliver, the film is undermined by a subplot that was surely over-egged even when it was made and which has only been further diminished by the passage of time.

The performers all do a decent job but one of the movie's major flaws is the awful assortment of accents flying around.

A harrowing but ultimately uplifting portrayal of the naive optimism of faith and its pros and cons.