Search: Starring Peter

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.

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 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.

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.

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.

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

Brilliantly claustrophobic and eerily entertaining.

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.

A superb piece of work.

When a documentary is as entertaining as Air Guitar Nation, you have to ask if you really need it to have redeeming social value or to advance the art form in any way. And, to be honest, the answer has to be no.

Somewhere a story of love and courage lies buried beneath the silt of mediocrity.

A melancholy and, in places, excruciatingly slow take on the tale with virtually all the comedic moments pared away.

Like the advent calendar Rene gives to Michi to count down the days to Christmas, the film holds a surprising number of sweet treats, despite its austere veneer.

Nölle's greatest achievement is to keep the magic realist realm firmly anchored to the real so that reality feels touched by imagination rather than smothered by it.

The ingredients are perfect for an over-the-top frightfest, as monsters of the inhuman and human variety fight for control of the hospital, and the residents' souls.

McGregor's character paradoxically gets too much and not enough. Swede feels clogged with sentiment for his daughter, with little room for other emotions.

Ulrich Seidl’s unique, stylised documentary depicts in trademark, single-take set-ups a number of Viennese residents and their relationships to their beloved pets.

Brilliantly-written, expertly-observed and just as well acted.

Aspiring to character-study status, the film evades at almost every turn the more compelling moments of its bare-bones plot. It’s a shame.

The jokes dry up, because Rock is a one-gag guy