Search: Starring Ross

This is a sudden and astonishing arrival for an adult actor.

All four actresses are excellent; forever chewing gum, Bartsch in particular is superb.

Modern Love Is Automatic has so much fun stuff going for it I was really willing it to be a better movie.

A warm and witty tribute to man's best friend and an odd couple love story.

The script has a heartfelt carefulness but it is never preachy, with 'naughty' conversations about the home's teacher's willy exploding likely to have pre-adolescents (and adults who well remember these sorts of conversations) hooting with laughter.

Frustratingly, the film isn’t really concerned with its setting, and the large bulk of the plot is a time travel caper that’s solvable within a few minutes of it being revealed.

Finch has great fun imagining his way into the kind of passionate, dogmatic and slightly unhinged character who has only latterly begun to succeed in the industry in real life.

Lucio Fulci's audaciously sleazoid slasher is designed to provoke as much outrage as possible, but it also just about cuts it as a classically-styled giallo thriller.

Dumisa proves very capable when it comes to building suspense, yet, thanks to sterling work by Ismael Essop, is able to step back from time to time to remind us that we're watching not mere cyphers but human beings.

At more than two hours long, it's a shame Beckett wasn't on hand to offer a bit of advice on the importance of distillation, although there is plenty here to enjoy.

This is really a film that rests on Slate’s charm, which fortunately she delivers in spades.

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

The dual plotline never really works. There isn't enough happening in either man's life and the parallels are too obvious.

Snippets of their conversations build together to let us see a real person, at odds with the tradition of legend-building.

Carreira shows how quiet desperation can be eroding

OSS has style in spades.

If you see one portrayal of a screwed up female detective with a drink problem this year, make it this one.

Forest Whitaker, how did it come to this?

As a first film, from a standing start, Pasty Faces has many qualities. Baker writes sharp dialogue, McCafferty has comic potential, Cross is solid.

This film is fast and funky and deadly serious, and massively flawed, yet just about succeeds in its difficult central premise.

The gratutious violence sickens. The grandstand sex is faked.

The issue is that if you strip out the elevated craft and A-list performances, what is left is the sort of bread-and-butter plot arc Cagney & Lacey used to rely on back in the day.

Milena Smit is a relative newcomer. This is only her second feature and she has real presence.

The acting is precise in its natural flow

Joseph Field Eccles and Nick Smyth’s sound design...is magnificent from start to finish, and full of playful touches.

A considerably flawed, yet visually superb, tale of beauty, beast and love.

If you see one dance film in your life, see this one with those 3D glasses.

A handful of the passengers may eventually get out of the ship alive, but in this massive overhaul of The Poseidon Adventure (1972), nothing, it seems, can save them from Mark Protosevich's sinking script.

Cronenberg is most certainly David’s son, and while he’d probably prefers to avoid comparisons, his proclivity towards jarring imagery and shocking material instantly calls to mind his father's work.

From the outset, it has something of the cool visual flair of a Seventies thriller.

There’s a deep vein of black comedy running through what might otherwise be a relentlessly grim film, and yet one never feels that Burke lacks sympathy with the people of this benighted Welsh town.

Cone's characters are fresh and real.

If you're in the mood for undemanding horror, with slight irony, mild mythology, an interesting killer and one of the coolest actors ever (Mr Henrikson, take a bow) then go for it.

Rosset has a welcoming style, the higgledy-piggledy houses of the town, each with their busily writing humans welcome repeat viewings to you can consider the details of them all.

Frankly, it's refreshing to see any film that features women having a good time at fan conventions without wearing Princess Leia slave girl outfits.

Such intelligent use of camera and cast lifts Yates out of the pool of promising young directors into the front line of genuine hopefuls.

Thought-provoking rather than yielding insight.

The acting lacks the raw feel from the first film.

River carries the viewer along at a thundering pace as deeper currents gradually find their way to the surface.

The clashes between characters give this film plenty of catalysts for interesting discussions, and it is refreshing that these discussions are not framed as anything other than three young adults connecting.

The film is all words and attitude.

You wish movies told the truth a bit more. Neeson as working-class hero doesn't wash.

At nearly two and half hours long Placido has gone for an epic Italian sweep of friendship, violence and political corruption.

In truth, it's all rather more miss than hit, but it's very hard not to have respect for Ryan Denmark's imagination - and when his flights of fancy score, they are complete slam dunks.

Hitchcock brilliantly builds suspense scene after scene.

An engrossing and very terrifying experience.

This film uses strikingly clear water to show shadowy movements down below, emphasising the three dimensional landscape of the sea in a way that few shark movies achieve.

All the familiar genre elements are there.

Jake Schreier and scriptwriter Christopher Ford go well beyond the initial fun of the robot conceit to craft a thoughtful film musing on both the ageing process and our relationship with technology.