Search: Starring Ray Winstone

Pollard and Forsyth, who have previously worked with Cave on Bad Seeds videos, turn inner states into inhabitable rooms. What is real and what is unreal is not for the audience to guess.

The idea of the bare room, the helpless prisoner and the group of aggressive men is profoundly Pinteresque. Unfortunately it has neither Pinter's wit nor his brevity.

It is entertaining.

Director Michael Baig-Clifford has worked wonders with his actors and seems in full control of the plot's intricate construction.

Literary responsibilities and moral ambiguities aside, Beowulf remains a rollicking good story of man versus monsters, full of gory violence, sexy women, heavy drinking, treasure and shouting.

Breaking And Entering feels genuinely homegrown, with an intelligent script, beautifully handled by actors and director.

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

After messy, overblown mishaps like Gangs Of New York, the maestro of Mean Streets is back. With a vengeance.

This is a talky affair designed to move away from the original BBC six-parter's cold-war paranoia in favour of a Michael Clayton-style corporate cover up.

The acting is strong, especialy Ray Winstone, Phil Davis and Steven Waddington.

Limp and limping, even the short 76-minute runtime feels like a chore.

As a romantic comedy, this cringes more than it cracks up.

Words fail. If shock and disgust is what the directors want, they have it.

Ray Winstone really should have known better, though his accent – American Deep South via London East End – is possibly the funniest thing in the film.

The story lacks originality

Ray Winstone has always been at his best in comedy, and here he excels.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

As each of the Indiana Jones films has demonstrated, iconic talismans from the past can still conceal an awesome power.

Harris shines in the central role.

The dialogue has a tendency to forget what century it is.

This gang may look like lovable rogues but they're as hard as a boot in the bollocks when things get sticky

Characterisation and incident appear thin.

Robert Carlyle's directorial debut adapts Douglas Lindsay's novel detailing the life and crimes of Barney Thomson with real panache and wit.

No one really acts, except Ifans, who can't help being funny, even when he's mad with rage.

The comedy rests. In fact, it goes to sleep.

The plot may be puerile, but the action never stops and the animation, however achieved, is most impressive.

The writing burns the skin off language.

Noah 2014 seems terrified of anything not spelled out.

The fun has been replaced by contemporary posturing, the carefree by right-on slacktivism, and the nostalgia by a desire to be an action film that revels in shocks and thrills, despite its inherent redundancy.

Cave's screenplay is full of rich incidents, impossible moral choices and, most of all, complex characters, brought to grimy life by the excellent ensemble cast.

A real return to form, a fully developed story in its own right.

If you’re after a movie to rock your world then Quadrophenia is the ticket.

For an erotic thriller it's pretty short on both thrills and eroticism.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

Everything Hannibal failed to be.

As the film progresses through bouts of selfishness and success, you learn to dislike him more.

Claustrophobic and relentlessly harsh, Clarke's feature debut is a deeply distressing experience and the viewer, like this incarcerated underclass, has no escape - not for a second.

Kingsley gives a chilling performance.

A gripping, exhilarating rollick through a medieval wasteland.

The perfunctory plot is much less of a serious crime than The Sweeney's worst offences, however - that it feels dated and, for all its surface gruffness, pretty daft.

Newcomer Lewis McKenzie plays Jimmy with an energy and fire which propels everything.

Performances by the two teenagers, Lara Belmont and Freddie Cunliffe, who have never acted before, are remarkable.