Hayley Atwell

No classic, but it does hold interest, in part by dealing honestly with the intriguing religious themes and in part for its fine cast.

Two years after Match Point, Allen delivers another London-set murder melodrama, with diminishing returns.

Willing to settle for all-around competency instead of excavating history for deeper insights, leaving audiences with another undemanding genre placeholder.

The most noticeable motif Johnston plays with is the use of a garbage-can lid as a shield: more important than $140 million dollars worth of toys is Johnston’s childlike sense of play.