Search: Starring Russell Crowe

Mangold’s version proceeds far too quickly to a ludicrous, logic-defying shoot out.

Scott has gone back to source, bringing viewers the most refined product available.

Russell Crowe carries the can and he does so with honour and the can becomes a trophy, richly deserved.

This is an extremely well made movie, with exacting performances of the highest quality.

This is, as a whole, a finely crafted piece of cinema which handles its explosive subject with great delicacy.

It may be brash and a slightly biased but it nonetheless offers a fascinating insight into this surfing society.

The cardboard characters' motivations and agendas are clearly signposted, often in unintentionally hilarious ways.

[Braddock's] struggle makes for great viewing and a terrific story.

Crowe is in his element here.

This is a film about rejection. Everyone's contaminated in one way or another

Ridley Scott's 2nd century extravaganza dies during those pauses between blood, sweat and fear.

Crowe's too substantial a lead man to fit into these Hugh Grant-ish shoes.

Mann brings an artistic density, adding another dimension to aspiration and fear.

A film doesn't have to have a message, or a moral; indeed if its only motive is mercenary then that's fine, as long as it entertains. Kraven just doesn't.

What is unexpected in this self-conscious pander to the cult of genre cinema is the violence. It lacks the dignity of constraint.

The first two acts are so strong, it's almost a shame that the invasion plot arrives, and things start blowing up real good.

A hugely likeable caper.

Has the courage of its convictions.

There is a sense of danger in performances that are called upon to hit high musical and emotional notes simultaneously.

It would be difficult to exaggerate the piffling absurdity of this film

A classic case of an intriguing film concept gone to waste.

Gosling and Crowe are wondrous sparring partners.

Noah 2014 seems terrified of anything not spelled out.

It relies on often clumsy exposition, a common construction of "only if X" with a cut to "X has happened" leaves one asking "why?".

The hostage hideout is uncomfortably authentic and Morse gives a performance of genuine strength.

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

The producers have kept what was best about the original, added some interesting touches and resisted the temptation to pile on the contrivances and explosions.

A merchandising rather than mythologising opportunity..

Russell Crowe's commitment goes further than you might expect. He directs with conviction, taking risks that work for him - and for us