Search: Starring Pet

Enigmatic in form, encyclopaedic in scope, and leaving room between its lines for many different readings, Sparrow's 1 encapsulates, much like the book from which it takes its name, the whole of human experience in eccentric, elliptical cross-section.

There's no doubting the film looks good..But there's a feeling of both too much gloss and of glossing over details.

13 Minutes is a sort of Casualty with tornadoes. And there is absolutely nothing wrong with that.

As stark as its empty landscapes, as measured as the tread of the strangers along the poplar avenue, as compelling as the panic that grows in the village ahead of them.

Nemo may prefer a diet of marine delicacies but there's never any danger that his vessel will run short of ham.

Ideal summer entertainment.

At its heart, this Netflix comedy drama hinges on what we put a price on in life.

Sends an icy blast of fresh air into the moribund genre.

Mangold’s version proceeds far too quickly to a ludicrous, logic-defying shoot out.

It's frantic at the fore, but contains some of the most accurate depiction of both boredom and resignation I can recall.

Essential viewing for anyone with an interest in the craft of filmmaking.

The dynamic between the two young people is beautifully observed and very telling.

McDonald is excellent.

The plot produces one of those surprise twists that reinforces its decline into gratuitous cliché.

Its anti-colonial, culturally sensitive perspective feels distinctly modern, and Val Guest’s direction has ensured that it remains tense viewing.

Rose Byrne just gets better and better.

For an anthology movie, Adorable Humans is pretty consistent both in the terms of style and substance.

It can be difficult to keep viewers rooting for a naïve character, and Alexander does a decent job of this.

It’s a classic feel good film for grown ups and in this digitally restored form is a real treat.

Breathtakingly visual and epic in its ambitions.

Surely one of the funniest movies of all time.

The over-abundance of cliched and banal action movie situations - the would-be witty one-liners, the should-have-been-impressive set-pieces etc - that never seem to have quite the impact the film-makers desired.

Hamaguchi’s most pointed provocation is not that the nursing home becomes excessive in its care, but that ordinary neglect has trained us to see basic tenderness as excess.

A thoroughly enjoyable exploration of family life, without mum, and neatly encapsulates an era.

As a cinematic first the audacity and imagination of Bart Leyton's way of working breaks new ground

As a thumbnail analysis of the middle-class American psyche, Alan Ball's script is a devastating attack. It is also extremely funny.

It doesn’t quite hit the mark, but that’s not to say that it isn’t a pleasant way to while away an hour and a half.

Amistad is one of [Spielberg's] deeply felt niche pictures that won't cause ripples on the stock market because of its uncompromising nature.

Who are those grown-ups weeping in the back row? Ignore them. They're historians.

It should come as no surprise, given the kitsch and extravagant props and costumes, that the film has been co-produced by Pedro Almodovar and his brother Augustin.

Although Northern shows the powerful nature of Peterson's play, he is less successful at illustrating its impact on the prison itself.

Although little of this is new, it's delivered with poise and grace, aided by finely tuned performances.

Although the tragicomic episodes that make up Another Year seem casual and low-key, they encompass birth, death and everything in between.

Although we are talking age old themes here – first love, dodgy geezers, questions of class – the material is spectacularly well handled.

Darín excels in this complicated role, revealing his character layer by layer, almost in passing, as the story of the atrocities unfolds.

The film goes for broke. No safety net. No apologies. Believing in itself.

The film is full of beautifully observed and detailed conversations as well as silences that speak volumes.

Less concerned with scrutinising the playground than the dangerous games adults can play with one another.

This is chiefly a character study of one man's humanity in the face of grief but it echoes the wider trauma of a nation that was decimated by hunger.

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

Richet is at his best when moving quickly - he's a director in love with momentum.

Brilliantly claustrophobic and eerily entertaining.

Natasha Petrovic infuses the role of Samira with a quiet, stoic dignity, that is both heart-breaking and inspiring.

The film can't be faulted for atmosphere... structurally, though, the cracks begin to show.

Zacharias Kunuk's achievement with his mainly untrained actors is astonishing. Even the sexual chemistry works.

Fedor Bonarchuk blends blockbuster stylings with a cultural critique which, he has said, he considers to have present day relevance far beyond Russia's borders.

It is Aurora herself who, unsurprisingly, provides the most poignant observations as she looks back at her life.

A superb piece of work.

Both young actors are impressive here, fully invested in their roles.

The way doubt starts to enter into everything we hear from any of the characters is subtly orchestrated.