Search: Starring William Sadler

Shelton does well to capture Alice’s aloofness which immediately draws you into the story, but after a while the one-dimensional elements of the writing isolate the spectator.

The film's sugar content is off the scale and it doesn’t help that everyone who comes in contact with Evan are sooo nice it reaffirms your belief in human nature – well, almost.

It's William Sadler, as Death, who steals the show.

This is not a film that will enable them, or you, to have a good time all of the time.

While many a primetime drama has ended up drowning in soap, CSI could do to take a shower in it a little more often.

Things do explode. Lots of things. The difference between this and the previous outing is that we care why they're exploding and about the people who are standing next to them when they do.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

The Mist has to introduce its beasties very early – and herein lurks the problem.

It's easy to forget how violent and depressing the story is and it's only by evoking a powerful sense of horror that Darabont's masterful screenplay earns its climactic feeling of release.

The killings are varied and suitably unpleasant, albeit not quite as unpleasant as some of the characters, who, of course, receive their due.

Full of gruesome violence but with a lot of heart, VFW is best watched as part of an audience, or at least with a group of friends and a good quantity of drink.

There are gory deaths. There’s genuinely funny pastiche. There’s also an attempt at affecting character drama.