Search: Starring Ross

As a work of fiction focusing on human rights, as a protest film, it is first rate. But as cinema entertainment it may well be swamped by similar themed films using larger budgets.

While the plot admirably avoids cliche, the dialogue hits a few potholes.

The Family Friend is never less than arresting in its manipulation of mood and expectation

Mortensen seems to draw particular focus to the aggression, fear and pejoratives associated with neurological disorders - a side only ever faintly explored in cinema.

A dizzying array of original and masterly techniques.

If Rutterford had been confident enough to keep things simple, he could have had a real winner on his hands here.

Egan spent many years in stunt work and here she gets to explore her potential as an action director.

Flashback seems designed to allow multiple simultaneous interpretations.

For such a studiously artificial work...it is profoundly moving.

Worth a look for those with interested in the history of exploitation cinema.

Friedkin's trend-setting handheld-camera gives a documentary-style feel, puting you right in among the tense surveillance and hunch-following legwork.

If you thought you knew every bit of scandal associated with the festival from reading articles about it or watching the news, prepare to be surprised.

Bava's trademark brilliant framing and his playful relationship with modernism maximise the visual appeal of every scene.

The direction lacks any sense of realism, which is surprising from a man who made a career out of documentaries.

The script doesn't patronise its characters, showing they're just as capable of the best of actions and the worst as anybody else, but makes sure we understand the additional pressures they face.

Whilst it has something going for it as a study of awkwardness, it never quite takes this far enough to break new ground.

First-time writer-director Robbie Fraser achieves a good balance between comedy and drama

Dean Stalham's script is nicely paced, touching, and Nele Hecht's direction catches plenty of nuance in the cast's performances.

If Bress had kept things simple, this would have been workmanlike.

Great cast, great dialogue, great Baldwin cameo, great movie.

Neel’s movie grips not because of its depiction of hazing, although that is sweaty, disturbing and naturalistic, but because of the psychological tension that builds between the two brothers.

To refer to something as ‘pure cinema’ is uninspired, but Godland is one of those rare films that has some untranslatable quality that speaks for itself.

Through the medium of drag – and with plenty of wit and glamour to enjoy along the way – Danger highlights the unreasonable expectations placed on all feminine people.

Good Night, And Good Luck proves that it is still possible in the cinema, if not in television, to inform without being boring and entertain without condescending.

Flashes a light to illuminate different stages in the life of the man who invented himself with style and grace.

It feels as fresh today as it did then.

Provides a solid framework for plenty of classic Argento images, suspense, shocks and splatter.

There’s nothing particularly radical about what Soderbergh is doing here.

It's never easy to remain true to Armageddon while retaining a positive attitude towards life after life

A lame romantic sex comedy that overcooks its meagre ingredients to be a very underdone American Pie.

Penn has come up trumps.

Lifts the film into realms of comic genius

Sorrentino dares to tread where the great have gone before and leaves his own distinctive mark.

A small gem of a film and one worth seeking out.

First names are, of course, never used because they're out-menning the men in every department, including misogynist asides and police brutality - by the end of the runtime you wonder why they bothered casting women at all.

There isn’t anything particularly wrong with the direction, which is solid horror fare, but it’s trying to animate a cadaver of a script.

<ore than any other of Pasolini's films, it feels personal.

Olyphant has a great seductive charm and impeccable comic timing.

Dark family secrets and a desire to defray guilt at any cost underscore an eerie ghost story which hits harder because everything is so immediate.

Despite its compelling elements, the filmmaking falls too far on the clunky side.

The House By The Cemetery will, as would be expected, offer viewers a shocking and gut-churning expose of Fulci’s directorial penchant for gore.

It is a ride, okay, and it is a bit nauseating and therefore not sterile.

A unique experience and profoundly enjoyable.

The designers are caught in an unfortunate time loop that keeps dragging them back to the Eighties.

Overall, this is more miss than hit, but there are some nice ideas that will appeal to genre fans.

It's pleasing to see the usual bravado downplayed in favour of something more realistic; likewise, although the dialogue doesn't always sparkle, it's much more in keeping with the way real soldiers talk.

A beautifully shot, brilliantly acted incoherent mess, ranking up there with David Lynch’s Inland Empire as one of the most inscrutable films of the year.

When Pixar are good, they are very very good, and this is.

Penn had a definite feel for the incidental details and the everyday rhythms of small-town life.