Search: Starring Michael Caine

The plot beggars belief and having begged moves on.

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

Oddly, Pixar don't seem to have many fresh ideas for wringing humour out of their what-if-we-were-all-cars idea, as a result of which it feels as if it has been awkwardly sandwiched together with the plot from another film.

This is a film that takes no prisoners. It will live long in the memory.

While the film's more nostalgic elements are likely to help to keep adults on board it is also invigorated, not only by Goodhill's unorthodox approach to the works but also by the diverse casting.

An outstanding achievement: a rich, dark and complex movie

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

De Palma pulls no punches in his representation of sex and violence, which are, as the film makes explicit, often inextricably intertwined.

Caine's presence makes the difference between entertaining nonsense and a rattling good yarn.

It adds useful continuity to the psammead canon.

The film boasts at least one lovely switcheroo plot twist.

Carter has become one of Caine's most memorable performances in a long career.

While the concept is a quirky, eccentric delight, the film itself rarely feels like anything other than a run-of-the-mill animation of (ahem) garden variety standard.

While Caine’s no nonsense heroics will captivate, however, this is ultimately a single-minded affair, manipulating and twisting its way around audience heartstrings with unremitting sentimentality.

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.

The problem with this film is that for all its big name cast, relatively strong script and commanding performances, it lacks individuality and a distinctive identity.

You will no doubt need to see Inception more than once to appreciate every nuance of Nolan's carefully balanced ambiguities – but, more importantly, you will also want to.

Not many films are as important to the future of humanity as Interstellar.

Deighton's plot is full of intrigue and complexity.

The film has a pristine, timeless quality.

Giving an honest, open look at the realities of growing old and dying, Crowley manages to steer clear of unnecessary gravitas without losing the heart of the story.

Beyond the ridiculous premise, there's nowhere for this story to go, and we don't get enough shark action to make up for it.

Journey 2: The Mysterious Island is a good example of bad storytelling.

Without doubt a real winner.

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

This gang may look like lovable rogues but they're as hard as a boot in the bollocks when things get sticky

Characterisation and incident appear thin.

An amazing piece of work.

The joke - there is only one - has a touch of the Eliza Doolittles about it.

It's one of those rare seasonal films that really can entertain the whole family.

Packing a late-stage twist which unbalances everything that has gone before, Mona Lisa is a thriller that will really keep you guessing.

Caine makes the most of the material on offer.

It's just clever enough to keep you guessing.

Any attempt to explain the detailed confusion of the storyline will cause brain damage.

Some films envelope you, others baffle you. The Prestige is a mixture of the two.

A powerful and affecting piece of cinema, intelligent and altogether worthy of its literary origins.

Kaufman's recreation of early 19th century Paris is more theatrical than real.

Caine turns in a picture-stealing performance as the over-ambitious Shiner, menacing and yet able to find the humour in his role.

None of it is remotely believable.

You may suffer mild face ache. This is caused by persistent smiling

This cannot really be recommended as a cinematic experience. However, it's a thrilling piece of theatre, and a good chance to see two of the country's most capable actors at their best.

The pitting of Kingsley against Caine in this context is delightful.

Whether you ultimately like the end result or not, you'll definitely feel something, even if it's only the booming bass of Richard King's sound design and Ludwig Göransson's score rattling your seat at key moments.

Engage with it on its own terms, treat it as what it is, which is light, frothy and fun and it is a perfectly acceptable 90 minutes of entertainment.

A look at the commonest fear nipping at the heart of Middle America. Not the war in Iraq, nor terrorism, but the breakdown of the family unit and how - and, indeed, if - people can cope with it.

Nothing can save the film from blandness, or disguise a tiresome, silly plot.

The trappings and style more than make up for any lack of substance.