Search: Starring Sam Rockwell

Argylle isn't a delicate or even restrained construction, thread-bare and candy-coloured to the point that if it were underwear it'd be both crotchless and edible.

It is a character piece, an actor’s picture, supremely atmospheric and secure in its knowledge of place and time.

A heist movie that should be given the chance to steal the attention of a variety of audiences.

The Bad Guys 2 is proper entertainment.

Rockwell could have played this role in his sleep but makes as effort nonetheless, and Schwartz holds his own.

The script has a sense of humour that doesn't dazzle with punchy one-liners, but is consistently witty, without showing off.

Despite the busy plotwork, surprisingly little actually happens.

This is Clooney's debut as a director and he does a terrific job.

With so much good work involved in the cowboy side of the film, it's a real shame that the aliens appear to have been hastily sketched on the back of an envelope.

We shouldn’t feel so obviously manipulated and steered away from everything else towards the leads’ performances.

It’s Frank Langella’s towering interpretation of Nixon that eventually makes every other character real.

The film should be hilarious, but isn't.

It's big, it's flashy, it delivers on thrills, and it's almost completely character-free.

The film is as soft as butter. Sentimentality clogs the air ducts until it is difficult to breathe.

To watch actors work with such unity of purpose is a scary thing, like balancing between probability and deception.

Anyone who enjoyed the first Iron Man will love this, but if they expected something better then they will be disappointed.

As Jojo, Davis delivers one of the finest performances of the year.

Move over, Damien.

The plot has holes as big as horses, but you hardly notice, because the performances have their hooks in early and Ridley Scott's direction runs as smooth as mercury.

A tighter focus on the misery that drives people may have made this a more indispensable glance at the industry, but for anyone with a love of comedy, it’s sure to harbour a few gems.

Moon represents a return to a more sedate and thoughtful science fiction of the Seventies and Eighties.

Unfortunately the malicious ghouls of the title aren’t the only spirits haunting director Gil Kenan’s prefab carnival ride.

The pace is well controlled and never too breathless to lose direction.

Rom coms can damage your health

McDonagh just about makes this ultra violent meta train ride all hang together.

Fortunately, McDormand never lets Mildred's hold on us slip, balancing the conundrum of a woman who is simultaneously a mum, who likes a beer and a game of pool, and a Rambo-style avenging angel.

Compelling viewing.

As the film progresses, its identity crisis becomes increasingly evident as standard indie tropes are interrupted by cackhanded attempts and comedy of the broadest type.

Nat Faxon and Jim Rash's directorial debut may not be breaking any new ground but this is a warm and funny tale, helped enormously by good performances and a snappy script.

Does not live up to its promise, but is worthy of encouragement, nevertheless.

Malkovich and Rockwell are magnetic.