Search: Starring Peter

Everything hinges on Blane's performance. Open and emotional and in-your-face as it is, there's more depth there than first meets the eye.

This ambitious feature debut is packed with interesting ideas.

The sensitivity of Lee’s performance helps to draw out the ambiguities in Shelley’s work, and the moral complexities which, acknowledged or not, are a critical component of the story’s staying power.

There has simply never been a better Cyrano than Peter Dinklage.

The film is a reminder of how well directed Speed was and that James Bond stunts can't be replicated on the cheap.

Weber's discretion smothers gossip and edits anecdote.

One can't help but be swept up in the magnificence of it all.

The film breaks the rule that says Winston saved us, he cannot be criticised

The mysteries left unresolved after the near two and a half hours are more puzzling than compelling.

To call this Brit flick too clever by half, flatters it.

In his attempt to avoid Western cliches, Winterbottom is in danger of going too far the other way.

The film is briskly paced, infused with energy and the backdrop remains interesting.

Cleanskin is a smart and visceral thriller.

The problem with Clown is that, beyond that premise, there really isn't very much of substance.

A touching and honest look at awkward teenage romance under the disapproving eye of mum.

We shouldn’t feel so obviously manipulated and steered away from everything else towards the leads’ performances.

This is a movie for people who think that watching other people go through therapy is fun.

Completely incoherent.

One of the better examples of a style of horror that was soon thereafter to disappear forever.

The cinematic technique is never less than cutting-edge, although occasionally, things get too stylish for their own good.

While many a primetime drama has ended up drowning in soap, CSI could do to take a shower in it a little more often.

They really do do nothing but walk. Across the desert...this is all no doubt a radical deconstruction of conventional narrative assumptions and cinematic codes. It’s also very boring.

The overall effect is an awkward patchwork of a film that tries to cover a lot of ground, to little effect.

The large amount of plot poses two problems for the fledgling director, in that it's hard to fit all the character and story development into the 90-minute runtime and, as the film progresses, he also finds it difficult to decide where his focus lies.

Delivers all-out adventure with refreshingly little messing about.

Bjork demonstrates an intuitive talent for acting that breaks your heart.

When a film is made with this much love, its goodness shines.

As the story glides gracefully from pitch-black comedy to complicated tragedy, you are in no doubt this is a film which happened at the right time in the careers of its two central stars, and for cinema.

Darkest Miriam makes use of absurdist humour to explore the sense of unreality that…bereavement can create.

Cheesier elements clash with writer/director Andrew P Jones’ attempts at solemn soliloquising on hellish business deals.

The comedy dries up from around the middle of the film.

Lines like “Funny how when the chopper falls everyone just accepts it” are disturbingly prescient.

There's a lot of interesting stuff here and the potential for a powerful film. This is Lee in quirky mode, however, empowered by Netflix to do pretty much whatever he wants and quickly losing his focus.

Tremendously enjoyable.

The film becomes a mere series of incidents, superficial, where a little more development could have made a big difference.

Walpoth knows how to handle action, and there’s plenty of it here, up close and messy, characters improvising in ways that tend to test stunt teams much more than smooth martial arts moves.

A grim picture of a nocturnal city where everything feels temporary.

Szabó's film - co-written with Andrea Vészits - is concerned with the way in which, after a major switch in a political system, there is a period in which it takes people time to find their voices.

If it loses something in terms of definitive events, it gains a more poetic fluidity from the approach.

Though the film is laden with tragedy, it speaks to the growing awareness of the self as part of a larger whole.

Eisenberg’s obvious love of amateur dramatics provides The Debut with a foundation that feels akin to a warm hug.