Search: Starring Pet

The latest piece of gangland roughage is suitably violent, with a who-gives-a-monkeys attitude.

The character-based comedy mostly works as well as it does on the show, but the laboured and frequently infantile storylines make the film fall flat on its face when it's not half way up its own arse.

Well structured and benefiting from appropriately moody cinematography by Sjur Aarthun, the film is ably carried by the German-born von Rittberg.

Race is a complicated issue, and knowing the past, Daniels seems to say, is as important as making up your mind to act in the present.

Damon has a problem playing down-and-outs. He's so clean cut, three days' growth doesn't fool anyone.

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

Christopher Ecclestone has rarely been better .

It is frequently not what you see but what you hear which holds the horror.

The film is replete with tension, and director Anders Walter incorporates some nerve-racking sequences.

The presence of completists and super-fans is helpful, because you do not need to be either to enjoy Life After Flash.

Director Jon Spira does a surprisingly thorough job, and although he isn’t able to go into depth with much of the material, this is a solid start for those interested in exploring further.

Essentially, what we're getting here is Buzz's origin story, which is all well and good but episodic.

Lem Dobbs's script is chrome-plated - flashy dialogue and a storyline that goes off the rails.

Worthy, without being worth watching.

The Lion In Winter is a film made stunning by the performances of Hepburn and O'Toole. They both thrive on James Goldman's tight script.

Reisner is a real find as the young star and Siimetsis gets a performance from her that has a summer's day brightness to it.

If you don’t have a clear sense of who she is when you go in, you may come out feeling none the wiser.

In retrospect, Local Hero can be seen as a high point for all concerned.

For exuberance, inventiveness and gut-spilling humour, Guy Ritchie's debut takes some beating.

The film is full of daft but unforgettable moments.

Crumbles under it's own epic intentions and lack of cohesion.

You don't need to be a fan of board sports to enjoy the latest documentary from Joe Berlinger, but if you are you'll certainly get plenty of added value

Long Distance Information depicts that phone call so well, the stilted awkwardness as you ask about things you don't care about.

The film feels obliged to explain itself, indulging the audience too much.

Novikov's film has the virtue of being a simple tale that is well told.

Where it would have been easy to soften Lore, Shortland refuses to get sentimental, keeping us hanging on the edge with her as events grow more traumatic.

The film comes into its own because of Gyllenhaal's non-judgemental perspective, even sympathy, for the small suffocations of motherhood.

Krieps operates at her usual level of greatness, and Anna Cazenave Cambet does her a favour by putting her in the spotlight.

This sweet animation - firmly aimed towards the younger end of the market - is warm and nostalgic as its Fifties Italian setting implies.

It's the pace of the film that wins the day.

An occasionally agreeable whiff of fromage isn't enough to excuse such amateurish film-making.

Max Ophuls' most controversial, if not his greatest work.

Kleinert pushes beyond the structural stuff, creating subtle and shifting dynamics between the characters, and introducing a supernatural threat lurking in the woods.

An assured sophomore effort.

A heart-warming story with a dash of religion, a smidgen of romance and a lot of adventure.

This is a film with a fine regard for detail, and it is neither mocking nor deferential.

The harrowing latter half of the film could easily have become alienating, but Seyfried makes it compelling.

It looks as depressing as it feels.

Interesting ideas lurk, tantalisingly, underneath the romcom formula and yet every brave move Zwick and his co-writers make is countered by something weak and formulaic, as if in apology.

Sweet-natured and sometimes charming.

A moment perfectly captured.

The characters and story need more depth and pace.

The set pieces are beautiful, with wondrous scenery and lavish costumes, which bring this period drama to life.

There is no dull speaker, and director Simon Ennis deftly illustrates the subjects with well-chosen archive footage.

A taut chiller, skillfully shifting audience sympathies.

A self-consciously arty film.

A decidedly postmodern piece that nevertheless retains an emotional punch thanks to the sterling efforts of its two leads.

Described in this film as the "patron saint of independent filmmakers" and with his work marked by ambition and a desire to push boundaries, it's a shame that this documentary about Orson Welles by Chuck Workman is, well, so workman-like.

A bit kitsch and over the top, but in a good way.

The script (Steve Galluccio, Emile Gaudreault)... is sporadically funny, although lacks bite, and there are too many safe options.