Search: Starring Peter

As a personal and political masterpiece, Mephisto has few challengers.

A heartbreaking depiction of a man driven over the edge by an uncaring society.

This is formula fare. Nothing wrong with that when it's given serious treatment.

Watching it, one feels as if one has only just missed out on the chance to meet the great man.

A hard-hitting, ruthlessly honest account of a young American's experience of being locked up in a throw-away-the-key situation miles and years from home.

Samuels' film both contextualises and celebrates these strange slices of subversive counter-culture.

Despite the cast's efforts, the film is a bit of a nothing.

Whilst the story is ultimately fairly straightforward thriller stuff, the things it has to say are anything but. It's also a stunningly beautiful, atmospheric piece of work.

Wim Wenders films this dysfunctional love story in a tricksy cinematic manner, adding another layer of pretension to the already overloaded dumpster.

A beautifully observed portrait of a couple in crisis.

Flashy future technology and architecture has been cleverly interwoven with the familiar, even the old-fashioned, to create a world which we can believe is not too far away from our own.

If it wasn't for Neeson, this would have yawned itself into unconsciousness.

Marc Silver’s film is refreshingly alert to the nuances of the issue.

Berry is open to the wounds of a role that stretches her beyond anything she has done before.

Pixar cares enough to choose the best scriptwriters, the best voice talent, the most innovative animators.

It's not that the new crowd aren't fun, but they're a distraction from those of us who would prefer to spend more time with the best buddy double-act in the Pixar universe.

This is impressionistic filmmaking and the young director handles it with extraordinary confidence.

There are moments when the principal characters manage to lift the film, but these are few and far between.

It’s really Lee’s performance which gives the film its soul.

Surprisingly close to the spirit of the original.

This is another downward spiralling character piece with the same bruising toughness of its predecessor, but handled with a tauter, darkly playful control.

It's not so much kitchen sink, as tenement trauma.

All four actresses are excellent; forever chewing gum, Bartsch in particular is superb.

Packing a late-stage twist which unbalances everything that has gone before, Mona Lisa is a thriller that will really keep you guessing.

In its gentle, meandering way, this show can be highly addictive to the pre-tweenie market.

No quickie run-through of plot pointers can do justice to the exquisite look of The Mother.

In the end, it is a question of taste. Either this is Capra refried, or Sandler on toast.

If those were the days, boy, they moved slow.

A warm and witty tribute to man's best friend and an odd couple love story.

Succeeds in grabbing your attention but doesn't really deliver what it seems to promise.

Has all the ingredients of a fun Friday night out.

A tragicomic ensemble piece about people on the edge and love on the rocks.

Documentary this may be, but it's very much in horror movie territory, and filmed as such.

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

More than 60 years after its initial release as a critical and commercial flop, The Night of the Hunter remains a brilliant oddity without equal.

Those members of the audience over the age of ten may find themselves a little undiverted

A good story that is well-scripted and solidly told and acted.

Krymskiy is excellent, not least because he also carries off the violin playing after just 12 weeks of lessons.

Jim Isaacs's creatures are remarkable, as is the film - unique, disturbing, wicked.

The relationships are well drawn and delicately handled by a capable cast, so one wishes that the script would focus more on them.

Although Lince is consistently good and Ford generally holds her own, the film tends to meander where it should be making more of this.

'Pedestrian' is too racy a word to describe it.

The humour and emotion are so sharp you might not feel them at the time, but Mullan's film cuts deep and leaves its mark.

Savvy viewers may guess where this is all going, but Curry doesn't push the emotions or the pace despite showing a decent passage of time.

Finch has great fun imagining his way into the kind of passionate, dogmatic and slightly unhinged character who has only latterly begun to succeed in the industry in real life.

Scriptwriter Daniel Kehlmann has tailored the role to fit the star like a sharp suit.

Nickel Boys is a tremendously daring film.

Probably the finest hour-and-a-half of director Sidney Hayers' long and generally undistinguished career,

What worked so well in The Rider, namely that people were playing versions of themselves, falls flat because of the casting of McDormand in the lead.

Becca and Miles are loud, brash, deeply self-centered and more than a little twee. Shapiro's greatest success is in persuading us to stick with them anyway and, over time, to develop affection for them.