Search: Starring Pet

Director Catriona Craig has done a terrific job.

Peter Ferdinando is excellent as the titular character.

While this premise could have worked well, it doesn’t – mainly because you couldn’t care less what happens to the whole horrible bunch.

The Town sets aside stylish thriller tropes in favour of realism, which makes the action scenes a lot more visceral and the characters rougher round the edges.

It would seem that The Ends Of The Earth has everything going for it. Unfortunately, it's interminably boring.

Although 12 Angry Men is the more detailed work, a similar sort of group dynamic plays out here.

There is anger and anarchy at the heart of Chytilová's film, which suggests the impotence of women to do anything about a male dominated society is the cruelest cut of all.

Full of excellent one-liners and wry observations.

True North is an unremittingly grim and claustrophobic portrayal of life in desperate circumstances, but it's engagingly told, threaded through with humour, and it makes for compulsive viewing.

It has little teen humour, with the majority of the cast unlikely to see 40 again, and there is not enough plot substance to constitute an incentive for the older crowd.

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 all-singing, all-dancing, big gun blazing, kangaroo-fucking anarchist had a style that was all her own.

This is an extraordinary film. De Niro in the central role delivers one of those powerhouse performances that simply blows the audience away.

This is storytelling in its truest sense and the cast rise to the occasion.

The documentary lifts the various stones around the movie's creation and lets us have a good look at the monsters hiding underneath Welles's barely watchable, misogynistic hate parade.

With gusto and humour John Carpenter delivers a steady stream of explosive gun fights and brutal action.

Hauru's film is deliberately messy, satirising everything from the sacred treatment of hockey stars to yoghurt sponsorship.

Biting satire, a sharp script and wonderful performances make it a must-see.

A classic white-knuckle ride.

This isn't the Thomas we loved when there was nothing else to watch

Fortunately, McDormand never lets Mildred's hold on us slip, balancing the conundrum of a woman who is simultaneously a mum, who likes a beer and a game of pool, and a Rambo-style avenging angel.

Hoogendoorn crafts the tension around space and body which cinematographer Gregg Telussa captures candidly, usually keeping both protagonists within the frame.

It's an undoubtedly stop-start affair, but there's enough to keep you going.

There’s a careful balance between real thrills and the inescapable comedy of these situations. This is managed by way of an ineffable sense of cool.

For the very young, the film has charm. For the slightly older, it has angry bees, painful accidents and an avalanche.

The performances here are spot on, but it’s the rich detail that really brings it to life.

Christian Petaroscia, is an extraordinary talent.

The film races along with an air of tumultuous enjoyment.

The film really shouldn’t work, but it does.

Longstanding fans will enjoy her extensive contributions, as considered and witty as ever.

Visually inventive and imaginative.

Tower Heist hangs on its fast pacing, its glossy look and the performances of the actors.

Everything the British Empire once stood for is here - grit, courage, fair play, indomitability, initiative and lips that stay stiff without artificial aids.

Even in the cheapest of zombie films, human bodies have never come apart so easily, nor contained such an abundance of blood. It explodes across the screen at frequent intervals, each one more spectacular than the last.

Celebrity docu-portraits like this are ten a penny; what makes this one different is the extraordinary story and the intensity with which it's delivered.

The film is neither preachy, nor sentimental. It is about tolerance and truth and how the two cannot live together without hope.

There have been great police corruption movies - Sidney Lumet's Q&A comes to mind - but usually they are more subtle than this.

Its comedy leaps barricades.

Would you like to see things you've seen before, slightly re-organised, and often louder?

There isn't a point where Ares feels fun.

Ultimately, there is no depth to the drama and precious little soul.

Jim Carrey throws off his clownish mannerisms and gives a sympathetic performance of a naive man discovering a little knowledge.

Turner is typically assured in a physically demanding role which also requires some monologuing and a lot of holding audience interest by herself.

Øie makes good use of the claustrophobia generated by his smoke-filled tunnel, knowing when to keep it simple, and this will doubtless be terrifying to some viewers.

Self-aware and as on the make as its lead, it’s an accomplished lowbudget debut.

The sort of character-driven comedy we seem to have sadly lost the art for in recent decades.

What really stands out in Tyrannosaur, however, are the towering performances.

If you want to die living, watch Tuning. It will make you cry.

The Tuxedo is like a Chinese meal. You've forgotten it half an hour later.

This movie is ridiculous.