Search: Starring Take

It is a brave film that portrays Idi Amin not simply as a monster, but as a complex individual.

Race is a complicated issue, and knowing the past, Daniels seems to say, is as important as making up your mind to act in the present.

The pace may be slow, but the feelings are racing.

The film is smart and entertaining but doesn't stand on its own as well as others in the series.

Misumi employs a vibrant colour palette, making particularly striking use of red, from silk robes to gushing blood.

All this culminates, as it rightly should, in the series' most spectacular set piece battle.

Acting lightens the darkness and gives a simple, personal film unexpected depth.

Lovely and thought-provoking.

It is commendable that Gerard Butler, director Marc Foster and writer Jason Keller have tried to bring the issue of child soldiers to as wide an audience as possible - but though its heart may be in the right place, it never finds a steady rhythm.

It is described simply as “A Fable”, but there is nothing simple about this over-ambitious allegorical sprawl.

Bowie and Sakamoto acquit themselves well, their otherworldly appearance and rougher edges in acting ability feel quite appropriate for the characters they are playing - outsiders.

There are huge struggles going on here, with far reaching relevance, yet everything is conducted in a very quiet, polite, downbeat way.

The film - whose bleached palette drips with melancholy - is, ironically given all those pent up emotions Uchida wants to outwardly express, best in its quieter moments.

What appears on the surface to be a quirky indie comedy is actually more restrained and down-to-earth than one might expect.

That it comes so close to being fair, to being true, is to its credit.

A film that understands its audience exceptionally well.

Disbelief is suspended by a thread so fine it is in danger of snapping almost constantly.

Forest Whitaker, how did it come to this?

Endlessly inventive and technically impressive.

The plot meanders and doesn’t stand up well to scrutiny.

The camera soars like a bird, zooming and floating through walls, pressing the audience into a voyeuristic role.

Schumacher uses split screens and visual wizardry to retain a breakneck pace.

The combination of subtlety and indeterminacy makes for an uncanny treat.

Particularly intriguing here is the overlap between hentai and art.

The biggest problem with Returner is that no amount of visual pyrotechnics... can conceal the filmmakers utter lack of imagination.

An effective, atmospheric, stylish, very well-made chiller.

Whatever expectations are carried in are brought to a stop, hard.

If you are a fan of historical epics, this is one of the best.

It’s not a showy performance, but it’s a standout.

For all the talent on display, it feels more like a TV special.

This is an extraordinary film, not least because it is Japanese and yet feels universal.

The writing is sharp and succinct.

This is a side of Japan not usually shown to western audiences in mainstream theatres.

There is so much going on that, through mad exuberance alone, Sex And Fury quickly achieves critical mass, bubbling over into something far more than just the sleazy sum of its parts.

At heart, this film is a mystery, tantalisingly unsolved. Where do all those hot dogs go?

Masayuki Suo juggles humour with romance, although, being Japanese and ballroom, they are understated.

There's certainly a giant monster, there's definitely some degree of rampaging.

The drama itself is a bit on the wayward side... with the underwater stealth scenes adding some much needed propulsion

Hidden in this is a competent ninja flick.

Ever since Donnie Darko it's been clear that Gyllenhaal is something special, and here he really gets the chance to shine.

The plot has no tolerance for logic and the dialogue is of the 'She's frustrated' 'Who isn't?' variety.

An enormously satisfying adventure, made with skill and care.

Robert Wise's w-i-d-e-s-c-r-e-e-n compositions are beautiful and he really manages to lift Trek from the small screen to the cinema screen.

Sadly this doesn’t live up to this promise, although it remains a reasonably enjoyable, if somewhat predictable, action thriller.

The relatable, compassionately told story should easily appeal to both adults and younger folk.

Like rap without rhythm, Tokyo Tribes is missing something vital: plot and characters.

Kampmeier's choice of drab locations, dimly lit, means this is far from the imagined glamour of Hollywood, and anybody who has been unemployed and gone through the drudgery of pursuing one slight lead after another will be able to relate to it.

The plotting is bold and deliberately structured yet, given the small cast and high drama of the set up, this is an oddly cold affair.

The script is lean, the sword edges keen and the characters mean.

Much more of a natural crowd-pleaser than her previous works, this might be Morley’s most successful film to date.