Search: Starring Sam Neill

Lucy Russell in particular puts in a fascinating and nuanced performance.

If it has a saving grace it's that it's not two hours long, and one hopes that those involved had some nice evenings out in Turin while filming.

Brody invests his character with much more depth than is there on the page.

Intrigue peels away to reveal darker, deeper layers of complexity and corruption. The plot explodes.

Has enough bite. Just.

Phillip Noyce directs a tense thriller from the skeleton of old ideas.

It is part of Aussie tradition to kick the livings out of convention, in this case gangster flicks.

This is a U-rated family film with more tasty stuffing in it than most of the dressed Christmas turkeys that get released at this time of year.

Way too inspired for the end result to be intentional.

Despite admirably attempting to appear otherwise, Miles Chaplin and Jason Keller’s script is transparently stoopid, but mostly in the best way.

Stories as good as this are rare.

Taika Waititi knows growing up isn't child's play but he also respects childhood as a place of adventure, where spontaneity rules and the possibilities are only limited by imagination.

While the script wraps up its ambiguities a little too neatly in the end, the themes it wrestles with are sensitively handled for the most part and resonate long after the credits have rolled.

The best thing Susan Sarandon has done for ages.

Extraordinarily exciting and often disturbing PG-rated stuff.

Joe Johnston directs the action scenes (is there anything else?) with professional efficiency.

Gloomy and meditative.

Hunter delivers a riveting central performance, her silence speaking for a myriad women whose stories have been overlooked by history.

What sustains Possession is the excess with which the actors throw themselves into the parts.

Caton gets to exercise his acting muscles more than usual and the chemistry between the two performers is strong, leading to some poignant moments towards the end.

Puts into proper perspective the real horror of a fascist society.

The film rattles along at a fair pace, peppered with gentle warmth and good humour.

It would seem that The Ends Of The Earth has everything going for it. Unfortunately, it's interminably boring.

Unfortunately, with a weak central actor, the interactions of those around him suffer as a result.

Consistently funny.

Amazingly for a film so teeming with ideas, it unspools in clean, lucid scenes of near Spartan simplicity.