Search: Starring Mel Gibson

By and large Foster keeps things straight, but the film does wobble tonally between psychodrama and whimsy.

In terms of accuracy, Braveheart is a big pile of mince.

The beauty of Chicken Run is its refusal to accept modernity as having squatting rights in a Yorkshire state of mind. Park's heart is with the comics his dad read.

Screen humour has dropped below the level of funny-ha-ha into an abyss where mechanical failure and humiliation are the stuff of legend.

Long, slow and at times painful.

This is a talky affair designed to move away from the original BBC six-parter's cold-war paranoia in favour of a Michael Clayton-style corporate cover up.

You get what you pay for with a little bit of humour to lubricate the violence

This is an oddity, a curiosity, a mystery not so much in the sense of a religious play but in its intent.

Gibson's courage captures criticism. He leaps at the role with such raw excitement that comparisons are superfluous.

Gibson effortlessly resumes the back-talking bad-ass of Riggs and Porter with self-assured aplomb

Gibson’s got intensity on tap, balancing internal grief with edgy energy and natural comic timing for the performance of his career.

It’s not as dark as its predecessor and there’s more emphasis on guns, explosions and car-chases – but if you’re going to make an over-the-the-top actioner, this is how.

By going bigger, faster and louder than before, Lethal Weapon III doesn’t hit the same highs.

The real plot doesn't start for almost an hour and when it does is less interesting than a Roger Moore 007 caper.

A scene where Riggs challenges a school shooter is disturbingly relevant even with 40 years of distance.

Machete Kills is a jumbled assortment of loosely related scenes whose main theme appears to be “how many different ways can you kill people with a helicopter?”

Mad Max remains a powerful experience simply because it's so well made.

Wim Wenders films this dysfunctional love story in a tricksy cinematic manner, adding another layer of pretension to the already overloaded dumpster.

The film is simplistic to the point of absurdity.

This whole venture is silly-side-up.

Shyamalan continues to cut a swathe through mainstream Hollywood, while retaining an integrity and refusing to compromise his vision.

This screenplay, twisted out of shape to fit the demands of Hollywood, is a postumous reminder of Potter's unique talents.

A true fan is reluctant to give up on a movie and yet 20 minutes into this, the need to escape is almost irresistible.

Helen Hunt looks more ravishing by the movie... Her acting is never lazy, nor lightweight.