Search: Starring Tilda Swinton

A film of true originality...triumph of courage over conformity

Anderson has absolute command of his craft and his cast are moulded to it.

There is talk of “hungry ghosts” and shadows but little of substance to show as the gambling cliches stack up like bad debts and the plot twists are signposted as brightly as the casinos.

The message is less of a warning against perfection's poison, rather a reminder that 'desire is desire wherever you go'.

It is not as though we have not seen this sort of comic crime-gone-wrong chaos from the Coens before, but there is no-one who does it better.

You have to care for these people to give a damn. That's hard.

Unpredictable, offbeat and peppered with absurdist humour

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

It's true that Voyage Of The Dawn Treader - as with all CS Lewis books - lionises God in more ways than one, but Christians are not the sole proprietors of the moral lessons learned.

Constantine is best enjoyed by ignoring the Milton-centric mythology and surrendering to the movie's lush atmosphere and wicked performances.

Jarmusch usually manages to invest his films with a quirky sense of humour, but here the lines fall decidedly flat.

Suture, have avoided every cliche of film noir.

The story is tragic, at times heartbreaking, always enthralling, never dull and ultimately ironic.

The most mind-bending, spectacular visuals of the entire series.

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

It all has a very particular flavour. Even a new one.

It is hard not to admire a film that manages, for all the shoestring meagreness of its budget, to be so broad in its ambitions.

What does it mean to be a real boy? Perhaps the answer doesn’t lie in flesh and bone.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

When Almodóvar has the protagonist talk about kitchen knives and their temptation, all I could think of was the brand of knife he might choose to showcase.

Go in as a fan of Anderson's work and you will not be disappointed. Go in as a fan of film and you will likely be delighted.

I Am Love is social melodrama in the best traditions of Italian cinema.

Swinton is mesmerising as a messed-up drunk.

There's a disassociation between the original's ennui and what might be the consequences of sleep deprivation. There's also a rebalancing of its violence, and it might be that which most discomfits.

I suspect even Jarmusch’s most ardent fans will find longeurs.

Jóhann Jóhannsson has created something that successfully captures the spirit of the book whilst feeling like a memorial to humanity.

Where is the anguish and the anger of this man whose paintings screamed at life’s abuse and the absence of love?

The forlorn beauty of The Man From London might inspire you to question the assumptions we make about cinema.

For all the talk of hermetical storytelling, this might be his least hermetic and most approachable movie to date.

Swinton’s magnificent juggling of callousness and vulnerability is the single best female performance I’ve seen all year.

The perfect summer movie for the eternally 12 who like to travel in style.

What is so disarming about Jarmusch's Only Lovers Left Alive is a scarce sense of appreciation - of the vampire couple for each other and the appreciation by both of them for what is great in the world.

Bong keeps it all on the move with immense visual flair, innumerable chases and excellent effects.

A film which flatters to deceive, teasing the viewer with a fluttering of aesthetically-pleasing eyelids before dashing off in pursuit of another suitor.

It would be difficult to find anything but goodness in Copperfield's personal history and a delight in the way things turn and turn again.

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

The combination allows for fascinating interplay of concerns.

The mix of action and satire also turns it into an absorbing hell of a ride.

The costumes in The Souvenir speak volumes about female and male desire and the search for identity that garments can encompass.

Hogg has always had an eye for architectural as well as emotional spaces and we see it here, as she floods the large rooms of Julie's parents' home with light, so that she almost seems to be paling out of them, which, coupled with her often silent reactions as others babble around her makes it seem as though she is the one who might be the ghost.

If we compared the original to a Mark Rothko canvas - a distillation of raw emotion - this version is more akin to a colossal, baffling kinetic sculpture, one that seems to exist in more dimensions than it ought to.

Part mystery, part psychological drama, and, towards the end, a harrowing thriller of unexpected intensity.

In the mindscape of Alice Through The Looking Glass, the surrealism of Steve’s predicament would be a footnote to The Patriot Act: Fear Or Frenzy?, if it wasn’t so tragic.

The setting may be small-town, but this is a vision in microcosm of a whole nation that has been driven inevitably towards anxiety and unease by self-imposed pressures and impossible aspirations.

Perfectly watchable and occasionally touching despite itself.

Confusion is the name of what stops being a game because after the first hour it's no fun any more.

Performances by the two teenagers, Lara Belmont and Freddie Cunliffe, who have never acted before, are remarkable.

What makes the episodic, almost piecemeal direction so effective is the way in which Jarman alternates between the individual and the universal impact of war.

Lynne Ramsay's adaptation of the book perfectly matches its intimacy, too close for comfort for some, and manages to make aspects of it even darker.