Search: Starring Ty Jones

Where the film succeeds is in the visual design of its world.

The film blushes with good intentions and yet cannot fulfil its ultimate promise of discovering strength in originality.

Somewhere a story of love and courage lies buried beneath the silt of mediocrity.

A past shines through another layer of the past into a silver screen present that is both familiar and brand-new.

Director Drake Doremus handles the material superbly, aware of its pitfalls and sensitive to all the vagaries of human behaviour which make these characters so intriguing.

While it's got some quirks it's relatively inoffensive, and if it feels like damning it with faint praise to say it's got nothing drastically wrong with it then fair enough.

Perhaps most impressive of all is how the themes of ambition, friendship and life-affecting decisions are dealt with without resorting to mush or cheesy-sentiment.

The script is, at times, very funny, though the use of a very droll narration is unnecessary.

There is an unvarnished authenticity to these men and their situation.

Life changing events are signaled so far ahead that tear ducts have withered by the time they explode.

It's rare to see a film that is at once so playful and so openly political.

The film suffers from a profusion of good taste

Romance is infectious and by the end you're likely to have caught a good dose of it.

Offers plenty of uncomfortably familiar observations for anyone engaged in a relationship that is either long-distance, or just long-term.

It looks privileged and innocent, without the benefit of charm.

This is what cinema does best - showing us technicolor worlds that make us see and appreciate the black and white home.

Bayona knows how to turn the screw of sentiment, not so much jerking tears as gradually filling a well of sadness until it can't help but spill out.

What could have been preachy is fascinating.

Unlike most of the films about Iraq, Redacted portrays a military that’s a catchall for the uneducated and unsocialised; and while many may find this offensive, it’s perfectly in line with the draft-deferring lowering of recruitment standards.

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

Ultimately, SoulBoy is a strange, lifeless work.

Changing the main character's sex from a man to a woman is the most obvious and radical idea Taymor brings to the table, and it succeeds in deepening several of the piece's key relationships.

This ought to be the stuff of powerful drama; instead it feels like a life insurance commercial.

Something happens in the courtroom that puts a hammer to the spanner

There are no doubt those who would argue this magic-hour drenched vision of America through the 1900s is a bit too chocolate-boxy for their liking but the weight of tradition can exert an impressive pull and does so here.