Search: Starring Stellan Skarsgard

It is the journey, not the arrival, that matters.

Amistad is one of [Spielberg's] deeply felt niche pictures that won't cause ripples on the stock market because of its uncompromising nature.

This film explains why the public are so reluctant to fund universities.

Natasha Petrovic infuses the role of Samira with a quiet, stoic dignity, that is both heart-breaking and inspiring.

Why make a movie about this match? Why now? Is it the danger factor with Superbrat or nostalgia for IceBorg or the ingenuity of the stunt guys to make the players look genuine?

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

The reason Branagh's adaptation of the Charles Perrault tale is a success, is that it sticks fully to the formula of the story and doesn't try to do anything irritatingly postmodern with it.

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

Nicole Kidman, as the mysterious fugitive Grace, is luminous and breathtaking, capable of evoking strong emotions from the basis of an enigmatic outline.

It is pretty.

Dune at least looks, sounds, amazing, though not always.

Long-winded, overwrought and totally without a climax.

'The best view of God is from Hell.' The best view of Exorcist: The Beginning is not at all.

The end product might not feature too many surprises, but the dialogue is occasionally dazzling and leads to many poignant moments.

In the end, this isn't the obnoxious film it might have been but it isn't a very interesting one either.

Teen shockers are growing up. This is an excellent example of the cruel step-parents scenario, which, in the past, would have degenerated into mad-axe behaviour.

Forman loses direction and the two halves of the film remain indifferent to each other. Portman overacts to a degree that simplifies madness to a stereotype.

The plot is pants down puerile

Hope is structured around seemingly small jolts that suddenly illuminate the big picture.

Emotions break out. Like pus from a boil.

The neat trick of Aakeson and Moland is to balance the humour with unexpected moments of poignancy and humanity as fathers from both sides of the criminal tracks share the common ground of parenthood.

The dialogue has a tendency to forget what century it is.

Holst's film takes on a truly tragic tone that some will find too much to handle, but it's a massively engaging effort that should reward those that stick out its hefty running time.

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

The bleached-to-monochrome palette and rich textures are stunningly beautiful to behold, if also deeply unnerving.

Mamma Mia! is a roller coaster of emotion, careering colourfully from the blue waters of the Adriatic.

Gilliam’s script cannot quite stand the excesses of his own imagination.

Lars von Trier's sublime invitation to the end of the world is a grand film by a master story teller who does not repeat himself.

Om Puri... is such a fine actor he touches every aspect of human experience.

It's a film that goes out of its way to provoke and disappoint, but to those who get its jokes and can cope with the rest, it's a delight.

With Petterson’s novel heavily focused on Trond’s inner life, it’s no easy task to bring it to the screen.

You have to know your enemy. If everyone is an enemy, where's the tension?

Smutný gives us faces that will stories even when they're still, the weight of long experience etched into every line.

Visually, as well as in certain performances, the final instalment of Disneyworld Goes Hollywood has a healthy infusion of surrealism and a sense of humour.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

It is a story of courage, redemption and forgiveness. And it's true

Frankenheimer's direction is so flawless and masterful that every frame of every scene flows effortlessly.

What marks Trier out is his ability to take on intellectual ideas like this but make them play out in ways that don’t feel forced or overly constructed.

Thor: The Dark World is nimble of step in the comedy department but as heavy as a hammer to the chest when it comes to exposition.

Within the confines of this technically complex idea, Figgis has created a work of considerable artistic merit.

While admiring the motives for resurrecting the Furtwangler case, it is difficult to feel sympathy.

The ideas are so shamelessly out-there and imaginatively employed that it's hard not to get caught up in it all.

This fantastic drama is made all the more powerful and chilling by the fact that it is based on a true story.

Shankland dispenses with subplots almost as quickly as bodies, but his debut rattles along at a nice, taut pace.

Its slow, observational style allows us to get much closer to the key figures and explore aspects of motive which are commonly lost.