Search: Starring Richard Jenkins

Brutally effective in what it does overall, which is fuse western and horror tropes to create a slow-burning, visceral experience that, although not flawless, should ensure fans of both genres are satisfied.

It is not as though we have not seen this sort of comic crime-gone-wrong chaos from the Coens before, but there is no-one who does it better.

While it is big on atmosphere and features crafty camerawork it is running on empty when it comes to plot.

Cabin In The Woods is fast-paced and, if you are in the mood, reasonably entertaining.

Gliding smoothly under the surface of what appears to be a serious film about coincidence and morality is that old black magic called sentiment.

As an old-fashioned disaster movie, with state-of-the-art effects and a script that floats, The Core definitely does the business.

Tawdry and shamelessly manipulative.

There is no reason why this should not be a hoot, but nothing is followed through, as if the writers are desperate to fit everything in before the sentimental finale.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

If the plot is poor, the direction takes dull to new levels of blandness.

As with most everything in the A24 stable it looks amazing, but at root it is just people in rooms, talking. Sometimes talking about their dreams, which is to undersell it.

What might have been a scintillating satire on the cynicism of legal shenanigans is a pleasant enough runaround.

Make no mistake: despite the big cast, this is the sort of thriller you can safely snooze through on a plane, connecting with ease the dots between the clichéd fights and chases.

It's hard not to recommend Killing Them Softly as there is plenty of Tarantino-esque vim to its icy world of contracts and crims, but the mix of styles and muddled message ultimately rob the film of greatness.

Although at times it verges on turning into CSI Riyadh, The Kingdom is ultimately much smarter and better informed than most of its ilk.

Kajillionaire is strong, disturbing stuff.

It has nearly everything that filmgoers loved about Alfredson's Swedish original – except the originality.

Josh Radnor is adept at creating flawed characters who nevertheless prove sweetly likeable.

The film is patchy. The funny parts are inspired. Others... fall flat.

From its first kindlings it draws breath from your lungs as surely and as steadily as it draws your eyes.

What finally raises the film above its somewhat programmatic, fight-the-power formula is its willingness to provide a believable context for the abuse.

Blatently sexist, the film has a centrefold mentality, with violent overtones.

Scott Thomas is a revelation. Few actors work from the inside out with such delicacy and focus.

Aniston... spends much of the picture grimacing and stroking her stomach, rather as if she is about to be ill. Perhaps this is because she realised she was now contractually obligated to finish the picture.

When the central theme is incest and the running gag a legless black man whose artificial limbs keep falling off, bad taste turns rancid.

The film's tameness is undoubtedly its downfall.

Hawkins has waited decades for a role like this, in which she can fully exercise her talents.

Hicks's use of flashbacks is ingenious.

What the film does well is to provide an air of sheer unpredictability.

You'll watch, you'll laugh, you'll have a great time, you'll quote the cheesy lines with your friends afterwards.

Visually colourful but narratively bland.

McCarthy’s script is spot-on, enchanting us with its characters and giving us food for thought with its wry comment on our world of immigrants and neighbour-strangers.