Search: Starring Ryan Phillippe

Suffers from a surfeit of superficiality.

Pelphrey is very effective in conveying the loneliness and misery which Brown brings upon himself.

Silver offers no easy way out of his moral maze, just an unflinching look at conflict and its impact both on the perpetrators and those who watch.

Congratulations are in order to Shattered Glass helmer Billy Ray for playing it straight and subtle, resisting the temptation to jazz up the action quota and indulge in Hollywood speechifying.

Haggis weaves his tapestry with infinite skill, aided by exquisite performances.

Roger Kumble's screenplay lacks the finesse, charm and wit of Choderlos de Laclos's 18th century classic.

Flags Of Our Fathers does a helluva job.

Gerald McMorrow has conjured up a film that spans many genres, coupling inventive storytelling with a strong visual aesthetic.

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

Intelligent and sophisticated.

McConaughey works above and beyond his usual remit to remind us that he can also convey a formidable intensity and subtle sensitivity.

Plotting is afoot, so that the spirit of the Eighties is embraced and royally sent up.

Makes an important contribution to the conversation around sexual violence.

There's a sense of tragedy underlying all this but it doesn't overwhelm the narrative, and we get a distinct sense of who Vivian was as a person.

Whilst the set-up may in many ways resemble a video game, with long sequences staged around twisty corridors and an improbable number of outbuildings, the tension is real.

Hirsch, who is nothing if not prolific, hasn’t had great luck with his recent roles, but dominates most of this film and gets to remind us what he’s capable of.

It’s a busy story but it flows smoothly in the hands of director Mitzi Peirone, who uses the visual language of nostalgic coming-of-age movies to tell the main part of the tale, intermittently veering off into much more experimental techniques.

Subtitles identify the routes which the climbers take on each occasion, and great attention is paid to accuracy, so climbers in the audience will have a lot to engage with.

Stop-Loss is the most pro-troops Iraq war-film I have yet witnessed.

Some of the language draws blood, as film noir cliches are mocked, or discarded.