Search: Starring Rain

A one-joke movie, but it's a good joke

A functional disaster-cum-rescue film with a glut of special effects.

The quality of the writing, editing, cinematography and everything else is top-notch, but it’s undoubtedly a bleak, hard watch.

Frequently and not at all randomly, the film switches to colour, posing a charming riddle that reflects states of happiness or other kinds of intensity.

Maugg illustrates his own command of the Expressionist form.

The real and the absurd walk arm in arm here.

This is Scorsese at the top of his game.

Donner's era-defining adventure is at once lighthearted, serious, scary and lots of fun.

Crucially, this isn’t a journey built upon a series of triumphs, but has much more to do with making mistakes and learning and growing as a result – a human process rather than a Hollywood one.

An astonishing début that marks out Ana Lily Amirpour as an extraordinary directorial talent.

Much of the film is awful. But two things make it stand out, earning its celebrated place in the starry firmament.

An odd mixture of the striking and the squandered.

With such material it is hard to fail. Tucker does not succeed, that's all.

Despite being rather on the nose in terms of his plot beats, del Paso has an eye for a strong image and a psychological feel for the insidious viewpoint of the adults, washing over the children like a bad benediction.

This is an excellent film, rewarding audiences with a slowly crystallising sense of dread.

Comparisons only categorise originality and this one stands alone.

Reitz and co-writer Gert Heidenreich define home as the bosom of family, as an emotional shelter or storm, rather than simply the roof over Jakob's head.

The Rocky Horror Show flits briefly across your mind, except that was fun and this is vile.

A deceptively unassuming and remarkably solid piece of work.

Vince has a good supply of stories, from the industry and from other areas of life. Together they paint a very personal portrait of an era.

Gaspar Noe's film is that rare cinematic achievement, a truly original work that grips you by the neck and forces you to watch something so ugly, your mind bleeds.

Chan-wook Park has crafted perhaps the most original film of the year and one of the most moving.

The characters seem as shallow as the waters through which they paddle.

Beyond the ridiculous premise, there's nowhere for this story to go, and we don't get enough shark action to make up for it.

This is one of the most visually ravishing period dramas ever.

Jaws is a well-made, nuanced, gamble of a film that paid off handsomely and assured Spielberg's future.

The director does achieve some quiet drama - a kiss on a cheek, an attempt at breast feeding - but elsewhere, it feels as though a committee was insisting on moments of 'quirky humour'.

The proverbial buzz surrounding Juno is, like, totally justified.

A deliberately cruel and vicious experience.

Establishing shots of boats and docks and archive footage are not only more genuine than the film's version of events but more convincing.

Unnecessary plot layers descend from a great height, crushing any spark of adventure.

What remains true now, as it was then, is the scale and scope of the thing.

By going bigger, faster and louder than before, Lethal Weapon III doesn’t hit the same highs.

To mix courtly and cavalry intrigue requires stable footing and the film is well poised.

While hard going, the film grows on you.

Succeeds on an emotional level even if it fails to deliver anything very surprising in terms of plot.

Gentle, predictable, slow and safe, with a laudable message.

Verbally, physically and emotionally brutal. You'll come out melted like ice cream.

You can't help feeling British audiences may well embrace the film's oddness - and blatant anti-American stance - which while not always successfully executed, means there is rarely a dull moment.

If it wasn't for John Hurt's astonishing performance and Richard Kwietniowski's dark sense of humour, it would have little to recommend it.

Whitman respects and relishes in Austen's creation but is no slave to it, inventing additional characters to help the story flow.

The script (Steve Galluccio, Emile Gaudreault)... is sporadically funny, although lacks bite, and there are too many safe options.

Not content with killing off the players, Harold French has decided to bludgeon the audience as well.

A man and his son take a little donkey to market. Showing at EIFF - World Shorts 1

Although the layers of symbolism and allegory certainly add to the depth of the film's resonance, those who consider it purely as a more simply magic realist-inflected coming of age tale are unlikely to be disappointed either.

Mi America makes an important statement about an issue neglected by the big studios.

CGI shocks don't shiver your timbers because you've been here, seen that, and what's left is betting on who's next for Meg's brekky

Bong loses the thread in numerous half-baked sub-plots whose inflation takes its toll on the bloated runtime.