Search: Starring Omar

The tension leaks interest due to a high cliche content.

The writers are crafty enough to stick to a formula yet still keep things fresh, with the 'central' diagnosis often kept very much on the fringes, so that the relationships within the story are allowed free reign.

Writer/director Zarrar Khan uses techniques borrowed from the horror genre to address the experience of living in an environment where one is seen as less than fully human, or even as prey.

Franco clearly understands the dynamics of the form, and knows how to conjure up the right atmosphere, all dark shadows, furtive glances and sudden lightning flashes.

Though his film is beautifully shot and well acted, Morales sadly lets things fall apart somewhat in the last third.

It’s nonsense. Tolerable nonsense, but nonsense nonetheless.

For a film that is dealing with front line despair, it is remarkably uplifting.

The film has a simple message - bureaucracy is a bad mother.

What remains true now, as it was then, is the scale and scope of the thing.

The choreography by Coral Messam showcases the garments and limbs in movement.

Mauro Herce's cinematography is stunning and merges perfectly with the soundscape created by Emilio García Rivas.

It feels different – firstly because of its immersiveness and secondly because of the quality of the performances, which are superb throughout.

Often you see the truth in her face, not in her words.

A riot of slapstick humour, bizarre gadgetry, spectacular stunts and unlikely adventures.

Everything that is wrong with the contemporary US indie movie is here.

It is strongly advisable that you have sushi to hand.

The overkill threatens to bludgeon the much-loved book into an over-wrought exercise in style.

Canet is fantastic in opening up more and more of the secret chambers in this frightening man's heart.

It rocks the chocks and never allows tension to slacken for a second

More a portrait of a friendship than of Omar and Cedric as creative artists.

Coogan and Henry Normal's script is full of invention.

the action, though well acted and offering a snapshot of rural Russia in the Fifties, offers little in the way of innovation or even a gripping story.

Private winds up the tension, showing how each step in a conflict comes slowly, inexorably and often between individuals who are not natural enemies.

The film’s gritty, frenetic style lends it a very realistic tone.

By opening up his story Hood may reach a wider audience and this is a subject which certainly cries out for more attention.

Mikkelsen anchors this movie with a performance that allows emotional turmoil to glint through Markus' regimented facade, playing off the impressive combination of anger and grief that Gaderberg brings to Mathilde.

The film's strength is its refusal to take its eye off Marie. No concessions are made.

A triumph of naturalistic storytelling, of symbolism, aided by tremendous technical work.

The film has all the bullet points for audience approval and yet somehow falls short

Our sympathies are torn and turned on a dime.

Sawney is a fairly accomplished first feature that at least has the good sense to revel in its silliness without resorting to self-indulgent irony.

Omar Rodriguez-Lopez gives us a sensational taste of his talents in front of and behind the camera.

The film's tameness is undoubtedly its downfall.

Bitter sour and mean spirited.

Relatively few musicians get to feature in this kind of film whilst they’re still alive, and Golden’s interest in cultural history benefits significantly from having Santos himself participate.

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

The pace of the action helps Handal to pack a lot in and his framing is inventive.

The film may be a dog trainer's day out but as entertainment it sucks on wood

I've seen it described as a film with a twist but that suggests it's got just one. It's full of them, it's made of them, it reels and gyres and tumbles into something special.

In many ways it feels more like a succession of power music videos, with almost every one memorable and worth a replay.

This is a film that flourishes because of the strength and depth of the relationships it depicts and the strength and depth of those depictions.

This is a film of two halves, with the half involving sweetness and light muddled and limp in comparison to its tougher, more sinister flipside, while the ending is almost unforgivably trite.

A manipulative weepie positioned for Oscar consideration.

As the inevitability of events tips towards simple life lessons you realise this slice of entertainment is weaker than it promised to be.

As a record of life before emancipation, this is a testament to human endeavour.

A film that celebrates the joy and fears associated with youthful lust, while exploring ideas of internal cultural conflict, without making it feel tacky or like a diatribe.

This isn't just a film to inform those who are lucky enough to know very little about ME, it also serves as a love letter of understanding for those who have it and a call to arms for everyone.

A natural crowd pleaser.

The scenes of the rescuers in their off-hours show the long reach of the war, with the night’s spent anxiously watching television news of the bombardment or phoning family and friends to make sure they’re alive.

Well realised and engaging, with impressive production design.