Search: Starring Tom Wilkinson

The idea of the bare room, the helpless prisoner and the group of aggressive men is profoundly Pinteresque. Unfortunately it has neither Pinter's wit nor his brevity.

Nolan has gone beyond DC Comics into a psychological no-man's land where lessons can be learned.

Despite Gugu Mbatha-Raw's fine interpretation, the film feels predictable, as if it were fiction and not based on real events.

As comfy and cosily British as a nice cup of tea and a biscuit.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

Allen's most morally challenging work since Crimes And Misdemeanors, this takes what is in essence a simple story and finds depths within it which will continue to haunt the viewer long after the closing credits have rolled.

Berg's dilemma requires him to try and solve logical and ethical puzzles, and cannot be alleviated through the easy process of having him find Heisenberg likeable.

The parallels with The Global War On Terror are obvious, but feel over-egged.

It's well executed (a phrase I use unthinkingly) and did make me laugh, but not enough to allay my concerns.

This is a grown-up film not ashamed to ask its audience to think rather than mindlessly emote.

Needed a more crackling central relationship to keep it interesting.

The trial plays out in a courtroom that looks more like a church and the few cringe-in-your-seat scares are economically used to great effect.

Heart warming and enjoyable.

A suspenseful, intelligent thriller.

Firth gives one of his brooding, unshaven, devilishly attractive performances, borrowed from romantic fiction.

It's all very messy and in the real world would clearly end in tears, but Hunt gives a bittersweet and witty performance that has you crossing your fingers for a happy ending.

Minnie Driver has the best time. She is a positive performer, who loves to act.

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

A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.

But the real disappointment is Everett, who gives a lazy performance, as if he knows he can do this backwards and simply can't be bothered.

The first thing you notice about In The Bedroom is that it looks ravishing.

Jackboots On Whitehall isn't afraid of stomping on a few tender sensibilities and its smut level is set to 'stun'.

This is almost a chick flick for guys.

You can't help feeling British audiences may well embrace the film's oddness - and blatant anti-American stance - which while not always successfully executed, means there is rarely a dull moment.

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

Following the phenomenal sequences up on the Dubai skyscraper, it seems that the only way is down.

The film is simplistic to the point of absurdity.

The humour emanates from excellent rapport between Chan and Tucker.

There are long stretches when nothing much happens

The film runs deeper than passion's cruel barb.

The air is heavy with irony, light with laughter and alive with love.

Oliver Stone takes the story and gives it slick mainstream polish, bringing the issue home in a way that is understandable and urgent, even if his hero ends up seeming almost too good to be true.

Bille August is a director who responds to the sensibility of abandonment, recognising an outsider's perception.

It feels alienated by the nature of its concerns, as if locked in a fancy dress trunk.

Screenwriter, Christopher McQuarrie and director Bryan Singer have done a terrific job of resurrecting the Seventies style of war film spiced up with the benefits of modern editing and special effects.

Thought provoking and well acted.