Search: Starring Samuel L Jackson

In terms of quality, 1408 is neither executive suite nor basement broom cupboard.

Unoriginal and formulaic it may be, but the movie is great fun.

Jackson really does attack his narration with all the relish of a new father indulging his kids at bedtime.

Save your grey matter for coordinating the movement of your hand to your mouth, or your jaw to the sticky cinema floor.

I only wish there was more of it.

It cheats so blatantly that the early tension, invoked through performance, interrogation and story telling is wasted.

On the one hand, Rae's feelings of lust are presented as unhealthy and a product of abuse; on the other, the audience is encouraged to lust over her.

It feels like you're watching the trailer for the much better movie you wish they'd made.

If you're a fan of Marvel's cinematic universe, you absolutely cannot miss this instalment.

Gliding smoothly under the surface of what appears to be a serious film about coincidence and morality is that old black magic called sentiment.

This could have been so preachy and political, but the performances from the young cast are excellent and Jackson has such natural authority he carries the audience with him.

As a look-what-we-can-do-with-animatronics showcase, the movie has its cheesy moments.

We get to witness the birth of a new genre and are confronted with a violent American history that Hollywood fictions have previously not dared to tackle.

The madness and the badness is everywhere - the dangerous and the foolish

Freedomland attempts to touch as many storytelling bases... as possible and misses the respective targets by miles.

Boaz Yakin's debut is so assured and individual, it clears away debris from those better known in the 'hood to create an authentic work of genuine quality.

It's a stodgy interpretation of something that wasn't that fresh to begin with.

As a director, he captures the seedy glamour of the gambling world perfectly and as a writer he propels a taut, no-frills story along with a screenplay that’s literate and believable.

Tarantino flexes his trash thrashed imagination and vomits forth the guts of a serial killer's darkest desires

A high octane, low credibility caper

Reynolds has proved he's the king of dry delivery in everything from Deadpool to Pokemon Detective Pikachu but even his comedy Kevlar can't protect him from this script.

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

Graphic violence is mixed with tongue-twisting wittiness in Tarantino’s peerless signature style.

Jackson’s narrative, like the film as a whole, is committed but calm, letting the facts speak for themselves. And the mood and atmosphere of Louisiana, and America, in its most turbulent years is vividly conveyed.

Anyone who enjoyed the first Iron Man will love this, but if they expected something better then they will be disappointed.

The best film of 2004 - and the best superhero movie ever!

The language is street smart, rather than clever chic and the acting inspires.

Made as a future cult classic.

Despite its winning formula of talent, concept and visual execution, Jumper feels like a slightly anaemic first instalment.

Extraordinarily exciting and often disturbing PG-rated stuff.

What begins as an Ian Fleming piss take ends in a Kill Bill blood bath

Boggles the mind and stretches credibility to the outer reaches of imagination

Overall, this is a disappointment from LaBute.

In a sea of cop drama, which is victim-orientated or defence-based, its unique perspective helps it to stand out from the crowd.

There is the air of a dysfunctional family agreeing to get together for Auntie Sheila’s wedding.

What makes The Man such excellent entertainment is the chemistry.

Bright, breezy, and most importantly fun.

Overall, the film doesn't quite achieve the level of dramatic tension it should.

Bening’s performance is a triumph over leaden writing.

The veteran director brings more than enough to the table to make his version well worth watching.

Wahlberg, perfect in his role, has fun sending up his macho persona.

Excitement shivers through each scene with quirky, individual peculiarity.

The film cannot help but be a collection of shorts, artfully joined together and given a twist in the tail.

Ditching the satirical elements for a more straightforward sci-fi 'issues' approach, Padhila goes for a more serious minded investigation of the man-machine control conundrum.

The flaws belong to the formula itself, not the argument.

What the film does well is to provide an air of sheer unpredictability.

This is no run-of-the-mill shoot-'em-up. It has a definite signature and a real blackness to it.

Its confidence is beguiling.

The two actors bring a wealth of experience and comic timing to their roles – Mac the constantly-hustling control freak riffs nicely off Jackson’s laid-back free spirit persona.

The dialogue is carved in marble, as if the power of speech never progressed beyond Ronald Reagan and the art of the autocue.