Search: Starring Peter

McGregor's charm seeps through, however hard he tries to surpress it.

It's a small film - it was shot on a shoestring in 24 days - that tackles big themes, such as love, loss, life and death, and never takes itself too seriously.

What finally raises the film above its somewhat programmatic, fight-the-power formula is its willingness to provide a believable context for the abuse.

If this sounds grim, it is, but it keeps the audience engaged thanks to a beautifully judged script and a keen sense of the absurd.

Excellent writing, good storylines that carry through from episode to episode and terrific performances.

There's a much better five hour documentary inside this, trying to get out.

Mullan brings a gruff, no-nonsense persona to his role, making Frank's emotional journey well worth taking.

Few films have ever depicted the art of storytelling as brilliantly as this.

This high-speed dash through the story, gets away with some of its failings thanks to its sheer velocity but it just as often hurtles past what could be a poignant moment, when you wish Williamson would just take a breath.

A seriously intelligent script.

There is no grand adventure, no melodramatic pathos, no broad comedy, just life as an eternal struggle for survival and for the chance of thriving, but also with a sense of warmth.

The fire effects are handled well and it’s really this monstrous inferno which dominates the screen.

With a small budget, Everitt-Lock couldn’t go everywhere that bombs were tested, but he takes in an impressive sample of affected populations.

Gritty, throbbing with mood and featuring plenty of Connery’s unique brogue.

If this wasn't based on fact, no one would believe the sight of it.

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.

Many of the performances outshine expectation.

It's Robert Heath's feature debut and he handles things with enough conviction and style to mark himself out as a name to remember.

Paddington is irresistible, funny and smartly constructed with a disarmingly big heart.

This is exactly what a sequel should be, respectful, goose bumpy and warm hearted

Every cliche that sang out of tune at the concert of dreams is here

As the film progresses, Seidl allows scenes to play out longer than expected, as they enter that uncomfortable territory (for protagonists, audiences and censor boards alike) of total unpredictability.

The film is small in scope, yet perfectly formed.

An overwrought, eccentric folly, surely never to be repeated, but truly amazing to behold.

Its strength lies in the fact that it never takes itself too seriously or tries to be more than an entertaining romp.

Beard loves big landscapes and big animals; his joie de vivre and fascination with the scale of the universe come across strikingly in these epic frames.

Even bad Cook and Moore compares well to most sketch comedy.

An enthralling 80 minutes.

The film's greatest attribute is also its main flaw - an unrelenting stream of video footage.

If you are four, you will enjoy this. If you are five, you might think Piglet not worth finding. If you are six, you'll want more action.

Muldowney takes things seriously, with cinematographer Tom Comerford using the lowering skies and boggy heaviness to his advantage

The plot is so thin it needs a good meal.

The late 21st century moonscape resembles Las Vegas in a bubble and the hoods behave like they've never left straight-to-video.

I give director Frank Nissen full marks for creating the very essence of the English countryside.

The clash of styles is painful to watch

Palm Springs is appealingly playful and deceptively smart.

The references are messy, the gestures grand.

The plot is cobbled together from second-hand ideas and given as much panache as Hush Puppies on a catwalk.

Douglas imposes his presence and manages to walk the tightrope between edgy and intense without chewing up the scenery.

Tim Mielants's quirky comedy is shot through with melancholy and holds a deep affection for its earnest hero even when he seems to be the butt of everybody's jokes.

This is a charming and ultimately very uplifting movie.

As a modern fairy tale Penelope has a gentle touch, and while flat in places it's definitely more silk purse than sow's ear.

The pace accelerates through 15 stages of excitement without stopping to refuel

The idea of visibility and invisibility of women still has a massive resonance today, so this re-examination of Slinger's back catalogue feels timely.

It would be difficult to find anything but goodness in Copperfield's personal history and a delight in the way things turn and turn again.

Fuller directs as though McCoy was painting a work of art, so slowly, and lovingly, his camera captures the action.

Robert Zemeckis has created a unique and (dare I say it?) magical work of art.

Taking care of business is rarely as emotional, but it's part of Power Ballad's exploration of authenticity.