Search: Starring Peter Sarsgaard

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

This feels leaden, not just due to its length, but in the attempt to be heavy, to be worthy.

Kimberly Peirce has taken a newspaper story and given it style.

For all its quality, and there's plenty, it doesn't quite feel a thing complete. Its characters are disobedient, but their film is in part disordered.

It's true what they say about violence. Too much and you become immune.

How it feels to take credit for something you haven’t done is one of the questions Coup! invites us to contemplate.

Elegy is well acted by both the lead and the supporting actors, which helps in carrying the emotional load of the film forward.

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

This is Foster's film from start to finish.

Portman captures something so rare that it defies description.

Dismal.

Although the acting here is uniformly good, both Schreiber and Tomei struggle to bring much life to characters whose encounters with struggle come so late in life that they seem singularly unengaged with the world.

The fusion of the crime thriller’s grim reality with the otherworldly fantasy of the ghostly confederate army is, for the most part, very effective.

It is to the film's great credit that its politics remain subtle.

This is a film full of cultivated emptiness.

The film is well made, without being innovative.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

It all feels too professional, too clean, too choreographed.

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

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

The John Ford cliches clang against the Sergio Leone sloppy seconds with the hollow ring of a church bell.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

Reichardt observes the game coolly, yet provides more than enough detail to show the contradictions in her players' gambits.

Director Jaume Collet-Serra proves a master of pace, beginning slowly and ratcheting up the tension, rendering any part of the cinema seat other than the edge irrelevant.

By opening up his story Hood may reach a wider audience and this is a subject which certainly cries out for more attention.

The only real mystery, however, is what is this great ensemble cast doing in such a poorly executed movie?

September 5 might not be a masterpiece but it is a tense, nail-biting thriller.

This is a treat of a film.

One of the rare chick flicks that doesn’t appear to hate women, Year Of The Dog contains its essentially sappy narrative within a membrane of stabbing humor and ingenious reaction shots.