Search: Starring Willem Dafoe

The characters in this film suffer torment and pain, much like the audience.

Daft the plot may be, but all concerned do a splendid job.

What matters here is what is real and what is the figment of a sick imagination.

The main horror element is a deep psychological manipulation that stays with you for days afterwards.

Aquaman is a far from bad way to pass a couple of hours at the cinema

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

The film's attempt at softcore titillation fails; it's like a tacky home movie, masquerading as social comment.

Burton pieces together the components with a demonic rigour that belies its sequel status.

Tightly wrapped doesn't begin to cover it.

There are several kinds of thriller nested here.

Waters can't keep a straight face. His drapes are freaks; his squares are pegs.

Scruffy and scarred and only inadvertently dashing, Crepsley has none of the glamour generally associated with vampires today, though John C. Reilly has no difficulty in making him compelling.

Has enough bite. Just.

The threadbare plot relies on the performances and writing to underpin this narrative simplicity.

It’s a real shame that the director doesn’t show enough interest in his own story or characters to make them anything more than sketches and surfaces.

Seldom has passion felt so primed, or sex so explosive.

Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

Dafoe brings just the right combination of nastiness and charm to his role.

Director and co-scribe Christian Carion, adapting from Serguei Kostine’s book, smartly distills the global Cold War politicking into Froment and Grigoriev’s tense relationship.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

The problem is that it's not just sugar coated, it's frosted and sprinkled.

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

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

Has the feel of an authentic autobiography, where nothing is straightforward.

The script doesn't patronise its characters, showing they're just as capable of the best of actions and the worst as anybody else, but makes sure we understand the additional pressures they face.

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

While the script wraps up its ambiguities a little too neatly in the end, the themes it wrestles with are sensitively handled for the most part and resonate long after the credits have rolled.

One of the tricksiest, most tautly plotted rollercoaster rides through the thriller genre since The Usual Suspects.

Action moves at a pleasing zip with an early fight scene setting the tone with spectacle but no wall-of-noise aggression.

Engaging in approximately the same way that a shoot-em-up arcade game is engaging.

The entire cast, especially Stone, who has admitted that Lanthimos is a muse, enter into the grand guignol spirit of the proceedings with gusto.

Light Sleeper doesn't belong in any oeuvre. The feeling is personal, introspective, wounded.

Burch and Jones clearly enjoy updating rich kid Myers and his literary salon pals to the present without ever falling into clownish cliché.

Anderson creates sealed, self-supporting worlds, crammed with excruciating detail.

The trouble with all this mood, is that it eventually gets laid on too thick.

The inevitable sadness is balanced by so much joy and energy that it's a delight to watch.

Be warned: this Great Dane backs up his satiric bark with a vicious bite.

Edward Norton has taken risks all down the line and proves himself capable of unquestionable courage in storytelling.

Ozturk's cinematography would be stunning even without such remarkable subjects, and the film is a visual delight from start to finish.

If Ustinov emphasised the humour of Poirot and Suchet the meticulousness, Branagh manages to bridge the two, while also bringing an unexpected note of soulfulness and melancholy to his performance.

A scenario that can all too easily become self-indulgent, and it unfortunately does.

This is brilliant.

The end result may look good but it never feels distinctive despite the wealth of talent involved in front of and behind the camera.

From its first kindlings it draws breath from your lungs as surely and as steadily as it draws your eyes.

You genuinely feel how much his characters have faith in their gods and their folk tales as an extension of their everyday lives

Remake is perhaps less apt than revisitation, if not outright revision.

It's a film that goes out of its way to provoke and disappoint, but to those who get its jokes and can cope with the rest, it's a delight.

It's down to Yelchin to convince us to care, and it's to his credit that he generally manages to pull this off.