Search: Starring Ralph Fiennes

Alfie Williams is tremendous. In a cast that includes figures like Ralph Fiennes and Jodie Comer he more than holds his own.

You have to care for these people to give a damn. That's hard.

The power of The Choral is that it evokes smiles and laughter in opposition to the oppressive reality of these war years.

If you’re looking for big-budget, popcorn entertainment, then Titans certainly won’t disappoint.

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

The choice of [director] Meirelles, who made City Of God with street children in Rio, was inspired.

The film also looks great, with a rich and varied colour palette and costume array, plus crisp camerawork from Barry Ackroyd combined with nifty editing.

Perhaps most impressive of all is how the themes of ambition, friendship and life-affecting decisions are dealt with without resorting to mush or cheesy-sentiment.

The film neatly encapsulates the frustrations provided by its director: talent is displayed and interest grabbed, but in the end there’s only mild dissatisfaction and a sense of untapped potential.

Strong leading performances and a handful of beautifully crafted scenes sit sit by side with much clunkier and more derivative material.

Ultimately, the film suffers from the same problem as the marriage it depicts: a lack of sizzling passion.

Julianne Moore, as Sarah Miles, is a revelation.

Seldom has passion felt so primed, or sex so explosive.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

Mike Newell’s take does not disappoint, with sumptuous cinematography and an impressive British cast.

Yates conjures up a succession of ‘follow-that’ face-offs which equal the opening salvo for edge-of-the-seat bravura.

The Order Of The Phoenix is the best in the series.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

If ever there was a critic-proof film, this is most certainly it - but, pleasingly, it's so good that it doesn't have to be.

For the first time in what has become known as The H P Experience, you feel genuine emotion.

An unrelenting, absolutely riveting and often unflattering portrait of frontline action through the eyes of brave people doing their best to survive.

This comedic and profane tale of not-so-cold-blooded killers seems to be the fusion of two movies, a very funny buddy comedy and a ruthless gangster thriller.

The film suffers from a profusion of good taste

From a technical standpoint, Vaughn and the cinematographer Ben Davies outdo themselves.

A journey you have never travelled before

In crash bang lingo this would be dubbed explosivimo

Richardson overacts outrageously and Bob Hoskins, as the hotel's butler-in-chief, is embarrassingly obsequious.

This may become a cult movie.

Has an interesting script by Murray Watts, a wonderful sense of place and an imaginative use of flashbacks, where a painterly technique emulates memory.

No Time To Die might not save cinemas, but it will keep Bond going.

As an adaptation of Pushkin's narrative poem, Michael Ignatieff and Peter Ettedgui have delivered a modern screenplay that rips through convention to the pulsing heart of a country girl's passion for a sophisticated urban aristocrat.

There’s a refreshing straight-forwardness to Gavin Hood’s Official Secrets.

The intrigue feels under-cooked and the subject matter is yesterday's news, robbing an admirably action-free mystery of much of its impact.

The film looks wonderful, but suffers from its own ambition.

Thought-provoking rather than yielding insight.

Norton holds the film together. He is such an unselfconscious, natural actor. Fiennes gives it welly.

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

This is the best-looking Bond film ever made.

The ultimate catch is that Spectre is no longer the villainous outsider. Their badness is corporate: its core, global surveillance and information technology.

For what is essentially a psychological horror film, Spider is remarkable for its quietness, its unassuming grace.

It is not a happy ending, but an affirming one, in that it shows that it is possible to reject mass genocide and that good men can save the world entire.

Bigelow delivers a neo noir that hides its hope and redemption under a throbbing veil of paranoia, tension and adrenalin.

Szabo's saga is a reminder of how great European cinema used to be.

He speaks of “sea bells”, in The Dry Salvages, bells we don’t hear. But we discern gulls instead.

Pure joy from start to finish.

A turgid, gelatinous epic that fails to find its feet until the tumultuous final reel.

Hare finds contrast between Nureyev's physical grace and his considerably more abrasive personality.

For fans of Dahl or the director, this is unmissable.

Worthington is as nebulous a charisma void as ever, sucking all the life out of everyone and everything around him, while Liebesman is reasonably capable with action but proves a total hack when it comes to handling anything remotely resembling drama.