Search: Starring Peter

Definitely one of Arnie's best and a landmark action movie.

Brash, unsubtle, in-your-face, wall-to-wall action.

Calling it a plain melodrama would be reductive for such a thrilling piece of cinema.

This is the first time in ages - perhaps ever - that the hot-blooded delights of a country house ball have been shown to be fun.

The Princess Bride is marvellous entertainment for all ages, and endlessly rewatchable.

With its well-paced build-up, its ominous soundtrack, and Carpenter's trademark handling of tension, Prince Of Darkness certainly earns its place on the margins of the horror canon.

Solid on atmosphere but structurally weak.

Paul has a way of finding angles that bring out different aspects of the process and the developing work.

Despite all the right elements, something doesn't quite gel.

There are two main problems with this film - firstly, you can see the emotional resolution coming a mile off, secondly, you're not actually sure what's happened by the end of play.

One of the most unique shows ever imagined.

In short: lad fantasy.

Overlong, too violent and bleak.

For all its flaws, The Purge is for the most part an exciting and thought-provoking thriller.

Quatermass And The Pit is a tale filled with creeping fear.

The director's use of the alias 'Ali bin Smithee' may seem cute, but it's worth thinking about why he needed to be anonymous.

The scale of what Cohen achieved with his monster on a low budget remains impressive to this day.

Cagney and Lorre offer alluringly amibiguous characters, ones who all too easily undermine our well-meaning hero.

Comes as something of a disappointment, this is the first Pixar film that one suspects could have been done live-action.

Fans of classic horror will thrill to see these two great masters, Price and Karloff, go up against each other.

Harryhausen's recollections and anecdotes about the process are a pleasure to see and hear.

Best part of the film is the extremely stylish opening credits: don't arrive late.

There are few surprises except for good writing, engaging stories and brilliant performances by stalwarts of UK drama.

Amenabar would need to regress his audience back to the early Eighties for this to have any sort of suspense.

Atom Egoyan's terrifically paced episodic thriller Remember is hard to forget.

The machine here proves to be little more than a macguffin for a murder mystery set-up and a side helping of sentimental stodge.

Resolution is an excellent amalgamation of horror traits that also stands on its own two feet.

Eventually, as screenwriter Adam Sussman attempts to fit the disparate pieces of a farfetched storyline together, you know it’s nonsense and the moment is lost.

Brightly coloured, esoteric, sometimes cheesy, with an electronic score and a lot more going on upstairs than you might expect, it suits its subject perfectly.

In the colonial tradition there is only one course of action, unreasonable force and the hard hand of authority pressing down upon the throats of the protesters

The film is certainly trying to do something different and in places it succeeds.

Despite overdoing the mumbling a bit Stallone wins us over again with some nice dialogue.

Nostalgic, but never sentimental

Camp when it could be creepy, silly where it should be scary, V For Vendetta director James McTeigue's latest offering is fitfully entertaining but tragically turgid and formulaic for the most part.

If Re-Animator doesn't get your blood pumping, you're already dead.

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

There's talk of everything from self-fulfilling prophecies to Schrodinger's Cat but no amount of cod philosophy and cod psychology can distract from the fact that this is a very familiar formula.

Director Daniel Borgman elicits careful performances from his capable cast, working hard to get past the assumptions commonly made about people in these circumstances.

[Hart] doesn’t turn up the volume, but uses tone and repetition so effectively that the film becomes a microcosm of the real experience.

Wemple's command of a range of distinctive cinematic styles changes the tone between different sections of the narrative nicely.

A cross-pollination of tough Dirty Harry and Frankenstein - often startles the viewer with imagery and ideas.

This has been a huge undertaking on the part of Eastwood Allen and Christopher Griffiths.

Possibly the best musical ever written.

This performance element - full of smoke and sweat as well as all the notes - gives the film life and rhythm that takes it beyond the realm of simple Wikipedia history.

It's stand-up comedy and it's funny - do you need to know more?

Cushing, increasingly cadaverous with age, presents us with a character who may well be beginning to wonder about his own mortality.

A disturbingly accurate portrayal of the New York intelligentsia.

It's worth noting that this is Altricher's graduation film - he's certainly got his career off to an impressive start.