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Cantering into contention for the next set of documentary awards, comes Dark Horse, an engaging tale about a Welsh pit village, writes BRIAN VINER
BRIAN VINER describes The Salvation as a formulaic but handsome Western, giving it three stars.
A handsome, well-heeled Swedish family — mum, dad, two lovely kids — are on a skiing holiday in the French Alps.During an idyllic lunch, a supposedly controlled avalanche rolls dangerously towards them.
New Zealand director Andrew Niccol explores the morality of playing God by way of 24-hour surveillance in his latest offering Good Kill, starring Ethan Hawke.
BRIAN VINER wonders if Helen Mirren is too young to play an octogenarian as he reviews Woman in Gold, which tells the tale of one woman's battle to reclaim a painting stolen by the Nazis.
The Face of an Angel may be a self-indulgent film, but director Michael Winterbottom deserves credit for teasing a terrific performance from Cara Delevigne, writes BRIAN VINER.
BRIAN VINER defies people not to laugh out loud at least once during Get Hard, starring Will Ferrell as an insensitive comodities broker who is sentenced to 10 years in San Quentin prison.
It’s an intense, unsettling, at times uplifting and often deeply moving French-Canadian drama about a widow desperately trying to cope with her teenage son,who has severe ADHD, writes Brian Viner.
Lily James is fine in the title role, but if the film belongs to anyone it is Cate Blanchett as the wicked stepmother, looking as though she could lacerate someone with her cheekbones.
This DreamWorks animation tries strenuously to be loveably cute, but only partially succeeds, writes BRIAN VINER. It concerns a race of flat-headed aliens called the Boov who hide on Earth.
By the time you get to the end of The Gunman, a thriller-by-numbers unsuccessfully disguised as something more, it comes as a mild surprise not to find Sean Penn’s torso given its own credit.
Love Is Strange stars John Lithgow and Alfred Molina as an ageing gay couple, Ben and George, who seal their long romantic union by getting married, only to find circumstances then drive them apart.
If this daft story, trite dialogue and uneven acting were not attached to a global bestseller, would anyone be remotely interested in it? The answer, of course, is no, writes BRIAN VINER.
This powerful but flawed film is set during the pivotal weeks of America’s civil rights struggle. As 1964 gives way to 1965, great strides have been made, but enormous obstacles still abound.
Lana and Andy Wachowski are the writer-director siblings who created the Matrix films, but haven’t excited the box-office since. And I doubt they will with this science-fiction adventure.
Paul Thomas Anderson's new film - a noir-ish semi-comedy based on Thomas Pynchon’s novel about a drug-addled private eye in California - has already been acclaimed by some as a work of genius.
Disney have come up with a memorable superhero, in the highly improbable form of Baymax, a huge robot who is like the Michelin Man crossed with Florence Nightingale, writes BRIAN VINER.
The latest Bond spoof, Kingsman: The Secret Service, is riotously entertaining if at times disconcertingly bloodthirsty, writes BRIAN VINER.
In The Rewrite, Hugh Grant plays a washed-up screenwriter called Keith Michaels who’s had one huge triumph, writes BRIAN VINER.
Cumberbatch is wonderful in the role struggling to interact socially as he leads his Bletchley Park team of code-breakers to its great yet covert triumph, writes BRIAN VINER.
Here’s Dracula as you’ve never seen him before, a devoted family man who, as Prince Vlad of Transylvania, is affectionately nicknamed the Impaler after his habit of skewering his enemies.
There really isn’t much of a story to justify this disarmingly sweet sequel to 2011 hit Dolphin Tale. Aptly, it’s a film without much of a tale about a dolphin without much of a tail.
Writer-director Jeff Baena, deserves credit for managing to lure some of Hollywood’s most appealing young acting talent with such a poor screenplay.
David Fincher’s unrelentingly tense and sometimes disturbingly violent adaptation, responsibly handed an 18 certificate, grips those who read the book as much as those who haven’t.
The study of iris isometrics hardly sounds the subject of sexy drama - so credit to Mike Cahill for managing to weave something so watchable, writes BRIAN VINER.
It can be a precarious business adapting a wildly successful novel for the silver screen - but this version of Gillian Flynn's riveting book is spot on, writes BRIAN VINER.