Search: Starring Michael Gambon

Its thin, sketchy plot relies heavily on little moments of comedy irony to pull it up by the bootstraps.

A real oddity, one of those curiosities which become landmarks in cinematic history.

The set-pieces are sporadic – but always exciting and kinetic.

A jewel unpolished is still a jewel, and there are treasures here for those patient enough to seek them out.

A work of brilliance, painful as a punctured lung, fierce, uncompromised, operatic, sexual, startlingly beautiful and yet poisoned with evil.

When a film is made with this much love, its goodness shines.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

It is only after leaving the cinema that questions come bursting to the surface, not that they undermine Dr Niro’s magnificent achievement behind the camera

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

Deserving of the hype.

The Order Of The Phoenix is the best in the series.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

If ever there was a critic-proof film, this is most certainly it - but, pleasingly, it's so good that it doesn't have to be.

For the first time in what has become known as The H P Experience, you feel genuine emotion.

It's such a pleasure to see a real children's film by a real filmmaker.

This is a mainstream consideration of Garland's life but Zellweger brings fine art to its more broad brush moments.

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

Although there is a lot of humour, crowd-pleasing fun and some award-worthy performances, there seems to be a lack of edge and darkness here.

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

This is a mood piece.

The latest piece of gangland roughage is suitably violent, with a who-gives-a-monkeys attitude.

Anderson creates sealed, self-supporting worlds, crammed with excruciating detail.

For all its beautiful editing, he most compelling aspect of the film remains the first-person testimony from 'ordinary' Londoners.

Sadly, like many biopics, the film blends so many elements of the life of its subject that it starts to lose focus, and falls back on a relationship conflict to lend some backbone.

Little hints that something disturbing is happening build up well, though the film never really grips the way it should.

For the second time, Costner has bet the farm and found his strength in cattle country.

This is exactly what a sequel should be, respectful, goose bumpy and warm hearted

The intrigue feels under-cooked and the subject matter is yesterday's news, robbing an admirably action-free mystery of much of its impact.

Scott is out to blast fresh air through the fusty drawing rooms of costume drama.

Dustin Hoffman's condescending direction turns old people into horrible giggling puppets.

The consistent inventiveness of the visuals is matched by the white-knuckle excitement of the plot.

At a time when ghouls have been relegated to cereal packets, Burton resurrects an Edwardian fascination with horror.

Gwyneth Paltrow gives a brave, uncompromised performance that does not shrink from the self-possessed obsessions of a selfish mind.

Such an important story cannot be squeezed into 106 minutes. The politics are complex and the religious conflict on a Syrian scale of horror

Judi Dench has become the living embodiment of fine acting, so much so that it is easy to take her for granted. Don't even think it!

Amini's script cuts James to the bone. Softley allows the magic of Venice to intoxicate his senses.

The performances are crucial to the success of the production. They exceed expectation.