Search: Starring Nas

The camera is, literally, down with the kids, at their eye level, drinking in their mayhem, their laughter and their viewpoint.

Timophiy’s youth is too relentless to consider the paradox of American culture suddenly engulfing his society – rather, he simply enjoys it.

Director Joko Anwar’s sophomore effort is a masterful noir thriller which showcases his versatility.

Beautiful to look at and full of humanity.

Fine model work, excellent production design, an overwhelming sense of menace.

Gary Yates's Canadian indie unfolds with a strong sense of deja-vu.

Aschan has chosen an austere, cold palette that reflects the cool calculations of Cassandra and Emma as they vie for dominance and she and her co-writer Josefine Adolfsson keep the scripting stripped down, so that the body language of the pair is as impor

Depending on your outlook, Shoot On Sight is either an opportunity missed, or a diamond in the rough.

The clever touches Ophuls brings to his later work barely feature.

The black and white photography leaves us open-mouthed from the outset.

Visually stunning to watch and impeccably styled.

If you're a fan of the strips, there's nothing much new here, but that's part of the charm - seeing favourite sequences come to 'life'.

It's a pity the plot doesn't offer more in the way of surprises

This documentary is an unsentimental portrayal of a time experienced and cherished by a community at odds with a senseless vision of the world.

You can sense the influence of Charlie Kaufman.

Bardem's performance is astonishing, not so much in his ability to mimic a wasted body, but by capturing the essence of a lively intelligence.

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

For Stavreski, its character first and plot second while commentary comes along for the ride, as he focuses on the dad and son relationship at the film's heart.

What marks Trier out is his ability to take on intellectual ideas like this but make them play out in ways that don’t feel forced or overly constructed.

The exchanges all have the ring of truth.

Bojanov draws not only a sensitive portrait of the bond between the two women but also exposes the dyn.amics of a deeply conservative and religious society

It will not win any awards for its hammy acting or merely adequate effects, but again, these shortcomings seem an integral part of the overall desired effect.

It lacks the energy and precision vital to any journalistic investigation, and especially to one taking place under this kind of pressure.

Fancher makes an excellent lead, giving us a character who has always been slightly adrift from her surroundings, literally offbeat.

With brightly coloured costumes, high speed motorbikes and a fondness for mid-air combat, the film has a very distinctive style and never lets self-consciousness get in its way.

Stunningly beautiful cinematography dominates a film in which the dialogue is sparse.

There’s a vast amount going on in Alex Schaad’s ambitious film.

Askevold’s refusal to offer easy answers is compelling.

Nasiri is remarkable as the boy at the centre of it all, a child who is withdrawing into himself in the absence of reliable, consistent adult protection.

Merz creates a space where emotions run riot, especially in the neon lights of night, the 4:3 aspect ratio letting each of the characters' faces fill the frame with an intensity that matches the colour scheme.

Nothing short of an instant cult.

A lesson in how to build atmosphere and wrong-foot an audience.

A well-mounted piece of filmmaking.

Richard Farnsworth gives one of those performances that redefines the use of the superlative.

Simple tricks like painting sets pink and amassing large piles of low cost everyday objects enable the filmmakers to create a distinctive fantasy landscape on a very low budget.

This mixture of sharp observation and inadvertent clumsiness characterises a film whose director has obvious talent but needs experience.

It’s Kalderon's intimate understanding of the sport and its psychology that give this film its strength.

The pool routines are a good excuse for a great deal of funny business but it struggles to flesh out the subsidiary characters.

Thelma appears aloof on the surface, but her constant choice of statement lipsticks, despite her otherwise conservative dress code, hints at the emotions screaming from within.

It elegantly shows a clear path between the jazz riffs that were Nas's father's bread and butter through to the inventive beats that back his son's hip hop.

The West Country slang in use is at times impenetrable, but it’s clear that writer Alex Simmonds has spent a long time learning its intricacies, and the actors are doing their best to capture the spirit and tone of this community.

Thumbs up to director Julio Vincent Gambuto for capturing one aspect of Italianicity abroad in New York.

The society it depicts is one in which ordinary people – and especially women – are crushed beneath the joint burdens of a medieval moral code, and an unfeeling bureaucratic enforcement process.

Zoabi uses farcical comedy as his warm-hearted messenger, presenting his argument with a disarming hug and a surprising dash of romance.

As character studies go, it's familiar ground but Funes succeeds in exploring it with some tenacity and strikes emotional chords without resorting to melodrama.

Directed with a light touch by Eivind Landsvik, it’s acutely aware of the fragility of its characters.

Lee is on top form as the wild-eyed, cold-hearted villain, approaching black magic with a steely rationality that almost makes it seem like science.

When the film focuses on the living over the undead it is at its strongest.

Almost every part of this slowburn road to not quite the middle of nowhere could be read either as a clue or a clever maguffin.

Kevin Allen succeeds, brilliantly, in creating something new, fresh and thoroughly engaging.