Wonderful stuff.

You'd follow these two anywhere - even down a long, winding and perilously close-to-pointless road.

Mostly though, it feels like we're watching a superficial gloss on Goodman's CV rather than a probing interrogation of his legacy. For the choir only.

The script—which Jones, Kieran Fitzgerald and Wesley Oliver adapted from Glendon Swarthout's 1988 novel—shifts uneasily between tragedy and comedy.

Despite impeccable performances from its talented cast, we never get to know the characters intimately enough to connect.

The movie toggles between two periods-before and after a catastrophe-and, were it not for Swinton's magnetism, it would be unbearable. Instead, you'll want to stay for the wallop.

Ultimately, though, it's an uneasy blend of horror and whimsy, with the allegory being hammered a little too hard for comfort. It's also marred by some dreadfully tacky special effects and set designs.

As so often the case, this Marvel effort is best when its talented cast is flinging around snarky banter and self-aware asides.

It seems a strange thing to say about a film featuring a giant man-eating mallard, but a bit more eccentricity wouldn’t have gone amiss.

Eventually it’s go time, and if The East loses a little steam on the grounds of action mechanics (a skill these plots always require), it’s never dumb on the subject of covert allegiances.

It’s rare for something this necrotic to feel this fresh.

Though the women could be stronger and the accents occasionally jar, cooper’s study of moral corruption enthrals. The Johnny-ssance starts here!

Initially succeeds at accounting for the formation of this unlikely family unit, but as the subject’s life starts to unravel, cut-rate cable TV techniques (trifling montages, an overactive string score) deaden the full impact of her crisis.

Ghost Bird has a bad habit of briefly taking flight and then crashing back down into NPR-like stodginess.

Adding hot naked men to a predictable narrative doesn't equal titillating or taboo; it just means you've dressed up a messy melodrama

The film strikes the right balance of outrage, hopefulness and despair, compellingly arguing the case that a profit-driven, racially motivated collusion exists between Big Pharma and the U.S. government.

It’s as pure an expression of Tarantino’s voice as he’s ever mustered—easy to savor, even if the aftertaste leaves a trace of nasty bitterness.

Director Joe Stephenson paints a beautiful portrait, but the actor’s sensitivity, storytelling and strength of character are captivating enough.

It's performed beautifully, laced with a quietly ironic wit, and quite lovely to look at.

A patently absurd and funny movie, involving a series of spectacular fight routines, often filmed in slow motion, which are highly acrobatic and exciting.

Comedy-adventure with a hit-and-miss list of Disney ingredients: street-smart (formerly 'spunky') Jodie Foster, Uncle David Niven wearing eccentric disguises, sweet Ms Hayes, winsome orphans, a slapstick climax.

Martin is his usual combination of flat cynicism and crazed childishness, indulging in some inspired Jerry Lewis-like clowning with his arms and legs hopelessly out of synch.

With superbly handled action sequences, excellent cinematography, and a Morricone score worthy of his Man With No Name efforts, it's a film to be seen.

At first glance, actor-turned-director Philip Barantini’s Villain looks like a box-ticking exercise in Laandan gangsterism. But it’s not. By playing it completely straight, it avoids campy Guy Ritchie clichés.

At 77 minutes, it's short – but it will stay with you for a long, long time.

Pakula's debut as a director, two years before making Klute, is one of those rare American films which manage to be gently observational without succumbing to the Europeanism of Mazursky or Cassavetes.

Not entirely successful, but still an imaginative and ambitious attempt to combine historical speculation, conspiracy thriller, and the world of Conan Doyle.

Kensuke’s Kingdom feels like a throwback – for better and worse. While some of its classical animation is pleasant, the story of a young boy bonding with a former Japanese soldier can feel schmaltzy and obvious.