Search: Starring Nicolas Cage

A film of true originality...triumph of courage over conformity

The Ant Bully is fine. It's a bit moralizing, but I guess its message is a good one.

The intricate detail of the colourful computer animation will wow viewers.

No film by Herzog has ever been so defiantly mainstream – and yet at the same time this remains one of the director's craziest, most outlandish affairs.

It's refreshing to see such a positive take from a newcomer.

The movie resembles ER on speed. The hospital... is like a war zone.

Nicolas Cage plays against type, retaining his movie star persona, which is not the same as being convincing in the role of a man who lives for opera.

There’s no compelling moral or psychological dimension, and no direct reason to invest in the characters.

The mood here is increasingly grim.

Like its predecessor, this film relies heavily on fast-firing jokes with easy punchlines. Supported by the quirky animation, these are a lot of fun, but older viewers may quickly find themselves feeling worn out.

One for keeping the little ones happy on a damp afternoon.

Despite its scale this is a small story, and at that level it's classic science fiction.

The film gleefully rips off everything from genre classics like The Terminator to recent upstarts such as Shoot 'Em Up, but manages to do it with a tongue so firmly in cheek that you should be too busy grinning to care.

A largely conventional thriller about the last-gasp of mission of a die-hard CIA agent that is lent moments of surprising poignancy and glimmers of madness thanks to Nic Cage's performance.

The threadbare plot relies on the performances and writing to underpin this narrative simplicity.

Cheerful, bullet-strewn entertainment.

It's big, it's flashy, it delivers on thrills, and it's almost completely character-free.

Cage here continues the recent return to his legendary loony best.

Gone In 60 Seconds provides you with all you need for a popcorn blockbuster.

Honestly, the full import of all this was lost on me, but since writer/director Mark Steven Johnson seems similarly confused about the whole deal, let's just call it even.

Inconceivable is a well made film anchored by strong work from Gershon, who gives her character a lot more depth than is present in the script.

There's a noirish aspect to it which, in places, elevates it beyond run of the mill thriller territory.

Cage takes commanding ownership of the somewhat familiar material and milieu.

The film stays just on the right side of knowingly self-aware, excusing the major flaw in its basic premise without getting too smug or annoying.

What at first seems a simple premise with a dumb-assed popcorn resolution might well unravel in your head into something altogether more resonant and perplexing (or not).

Cage and Shue transform [their characters] into believable people you feel you could talk with - transcending the usual boundaries of the screen and your heart.

What Longlegs has in mind worked better by implication.

Original, explosive and dense with social criticism.

The plot has holes as big as horses, but you hardly notice, because the performances have their hooks in early and Ridley Scott's direction runs as smooth as mercury.

The film only lives up to about 80% of the promise whereas I wanted 150%.

National Treasure is just plain boring. There is no mystery, or sense of discovery.

With an unchallenging plot, some interesting facts thrown in for history fans, and likable characters, this is an unpretentious, entertaining film which adults as well as kids can enjoy.

Next is never entirely sure how far to go...a waste of an great idea.

Manages to hold onto its eerie tone quite successfully.

Cage fills the screen even when he does not.

Despite the whole thing being incredibly messy, it's eye-gogglingly enjoyable at the same time.

Too many events in Raising Arizona are so ludicrous and out of place that they contradict the requirements of almost any genre.

Stick a Johnny Cash CD on, fix yourself a JD and a Bud, then settle down for some good, thoroughly unclean fun.

Though Hoult is as oddly charming as his abilities allow, Nicholas goes as close to the Full Cage as I've seen in a while.

There are so many distractions and superfluous plot points that the only way Bay can compensate is to turn every scene into an MTV blur.

This is not so much a study in stereotypes, courtesy of Jimmy Dean’s legacy, but a love poem to the restless, doomed, anarchic integrity of orphaned hearts.

For a short while I thought this might be an entertainingly bad film. It isn't.

The problem is neither Cage, nor the concept. It is the story.

Oliver Stone takes the story and gives it slick mainstream polish, bringing the issue home in a way that is understandable and urgent, even if his hero ends up seeming almost too good to be true.

Disney always has a tendency to err on the side of caution, choosing the established and familiar route over more crazy - and, let's face it, fun - ideas every time.

The drawing is good as the story scatters.

The heat is omnipresent, rippling through the air, distorting what we see, distorting time and identity.