Search: Starring Riz Ahmed

Not a satire on the aspirations, colonial hangovers and intuitive racism of the Asian community in England's fraught and fractured land, but a detective story cluttered with high school nostalgia.

Plot black holes quickly emerge and start to suck all believability out of the film.

Digger is not a film that invites fence sitting.

There’s something inherently endearing about the way that Nikou always managed to conjure timelessness in his worlds. They’re more analogue than futuristic but ultimately hang in a sort of limbo of ‘here but not quite now’.

Because it wouldn't be a Chris Morris production unless it made me feel horrendously uncomfortable in some way or other, I laughed a lot, realised with horror what nightmarish events I was laughing at, and then started to laugh at that instead.

Though it is flawed and uneven and can't escape the wide shadows of the London gangsta/hood films of the last few decades, Ill Manors does showcase a bold and confrontational directing style and subject matter

The powerfully cathartic ending of The Bourne Ultimatum is a long shadow to get out of, and this film never quite manages it.

Aneil Karia’s direction, all close-ups and quick camera movement and lively background noise, immerses us in the family’s world so completely that there’s no time to prepare emotionally even if one knows what is on the way.

Rap is a rapid-fire art form, washing you in a torrent of thoughts, the beat carrying you through, and Tariq's film has a similar approach, but there are so many ideas being fired out that it's no wonder it sometimes struggles to retain its rhythm.

Although far from subtle, the metaphor of man as corporation is skillfully hidden behind black comedy, intense action and artful cinematography.

We never get a real sense of who Nimona is as an individual, beyond the impressions she gives to other people, so that the film comes to rely on the old trope of eliciting sympathy for a monster rather than de-monstering her.

The real challenge is to keep up with the pace as well as the information overload.

Whatever expectations are carried in are brought to a stop, hard.

Through heartfelt and very conventional storytelling Nair simplifies, pleads, and misses the chances to shift the very current problematics into a new light.

Races furiously along, capturing perfectly the sense of a life fast spinning out of control.

Phoenix gives his character more depth than such men are usually afforded but deliberately takes a back seat, allowing Reilly the dramatic lead role he has long deserved.

Ahmed, who has long deserved this kind of opportunity, really shows what he's capable of.

In the central role, Frieda Pinto shows that she has come of age, delivering the story's most powerful screen heroine yet.

In an era of almost infinite possibilities for entertainment, Venom isn't one to recommend.