Search: Starring Oscar Isaac

Garland takes us into a world as beautiful as it is alien, a dazzling cinematic landscape that deserves to be seen on the big screen.

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

Despite its structural instability, Connolly still manages to find plenty of poignancy and to gather an emotional head of steam.

This is an extremely well made movie, with exacting performances of the highest quality.

Tightly wrapped doesn't begin to cover it.

Drive is cool. Really cool. In fact this will probably be the coolest film you will see this year.

It is pretty.

The pleasure of Garland's film lies more in the deeper questions of what makes us 'human' and in the tensions generated between Caleb, Nathan and Ava than in the plot, which suffers from predictability.

There is a magnetism to it all.

Oscar Isaac’s poignant performance pulls us in from the get-go.

2014's best film of the year.

Released to coincide with seasonal spending sprees, it will help to float modern day Herods' coffers.

Scenes are set up and played out as if rehearsing for a mud sculpture

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

There are some astonishing sequences that leverage the freedom animation has to move perspective.

The Force Awakens manages to stop one thinking about how disbelief is suspended and instead carry one along.

It's that old magic again.

Patricia Highsmith on a low flame

Watching the film, which refreshingly tells the story from Wallis's perspective, you begin to wonder what on earth Madonna was thinking when she decided to tack on a framing device involving a modern Manhattanite's abusive relationship.

Without the all-star cast, it's easy to imagine X-Men: Apocalypse as a dismal failure, but the somewhat nonsensical script is rescued by the performances.