Search: Starring Tim Roth

A brilliant piece of character driven desert noir.

Richard Gere is getting better with age. The lived-in look suits him and he holds this film tight.

The film unfolds at an easy pace, Hansen-Løve making everything matter of fact and yet beguiling, thereby softening viewers up to accept the fantastic or surreal aspects of the narrative as normal.

Underneath the sound and fury is a subtle, poignant and often very funny take on growing up.

A work of brilliance, painful as a punctured lung, fierce, uncompromised, operatic, sexual, startlingly beautiful and yet poisoned with evil.

For those who have seen the originals, stay away.

Haneke once again delivers intellectual, challenging and bravura filmmaking.

Any greater insight into the life of Fuller is most welcome.

Kidman is 47. She's an actress playing an actress, not a Catholic girl from Philly with all the enthusiasm of youth

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

Predictable popcorn pap - this feels exactly like the holiday filler that it is.

After a string of vulgar performances in awful films, Tim Roth here makes a stunning return to form as the cabaret owner and hypnotist, courageously portraying an ambitious and frightened man whose life is dominated by the secrets he keeps.

The Pates use flashback, like postcards from the pit, exploring aspects of character that contradict and expose.

There's a rare intelligence to this film, which explores issues around race, wealth, class, gender and what it means to be a real American in a nuanced, multifaceted way.

Roth, in his TV debut, is dangerously fluent.

Tarantino's on good form but there are moments in the middle of the 165-minute marathon where it flags before mustering for its finale.

It hardly helps having Mark Wahlberg in the lead. As charismatic as seaweed, he creates a new milestone in minimalist acting. It's called not acting.

Excitement shivers through each scene with quirky, individual peculiarity.

Every theatrical device in the book is here and everything that makes a film interesting is not.

Tarantino's talent for dialogue is what catapults Dogs into instant-classic status.

Energy, enjoyment and a refusal to be bothered by purist sensibilities make this a rollocking good adventure.

There are long stretches when nothing much happens

A monumental bore.

We don’t get much explicit backstory, so it’s the chemistry between the actors that’s important to making this slight story convince, and for the most part, it’s there.

To Kill a King features a career-best performance by Rupert Everett as King Charles I.

It does pretty much as it says on the wrapper: and if some of us do not have the stomach to stay the course, that is on us, not the filmmakers.

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

The acting is so committed that it sparks the imagination and makes two-and-a-half hours feel inadequate.

Littered with sexual innuendo that is about as funny as drowning kittens.

What emerges, despite the magic realist trappings, is a classic Coppola tale; Like Kurtz and Michael Corleone, Dominic is a man alone, haunted by his memories and driven to tragedy by the essence of his character.