Search: Starring Alfred Molina

On balance this is a serviceable thriller with plenty of exciting moments.

Although we are talking age old themes here – first love, dodgy geezers, questions of class – the material is spectacularly well handled.

Much Ado About Nothing was like being given a surprise invite to a lavish summer party in Tuscany; this feels more akin to being trapped in a 'back to nature' weekend theatre workshop where the actors are having a lot more fun than you.

The character is more sentimental, than exacting.

The film's charm is the feeling of spontaneity and randomness.

Ron Howard directs without flair, but with respect for the source material.

A western for sleepwalkers and dreamers.

Dafoe brings just the right combination of nastiness and charm to his role.

The film stands back, doesn’t take sides. As a political thriller it stays out of politics. As a human drama it rocks to a gentle rhythm.

Taymor has succeeded in recreating an extraordinary time for an exceptional woman. She does so with love and imagination.

I was surprised to be as pleasantly surprised.

Hallström successfully captures the style of the Seventies, aided by a breezy original score by Carter Burwell. He also shows us the dark undercurrents of the period.

A fascinating psychological thriller.

Even Banderas' character feels like a cheap knock-off who is not fit to polish the boots of Puss.

The film could be called "old fashioned" but that is rarely a bad thing.

Courageous and uncompromising

The premise pushes its luck in the street cred dept.

It's not that the new crowd aren't fun, but they're a distraction from those of us who would prefer to spend more time with the best buddy double-act in the Pixar universe.

Steve Martin is actually quite good at times, but he's let down mostly by a wafer-thin script and misguided direction.

Fennell explores the lasting effects of traumatic events with care, never making light of the situation even amid moments of comedy.

A powerful, hard-hitting drama which simultaneously manages to be one of the funniest films of its era.

Formulaic though it is, the film is undeniably a lot of fun, with a good balance of peril, action, romance and humour.

Demonstrates what an action movie ought to be.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

When it comes to Japanese slo-mo sensuality, there is nothing you can do but admire the photography, because arousal has been dulled to death long before.

Disney always has a tendency to err on the side of caution, choosing the established and familiar route over more crazy - and, let's face it, fun - ideas every time.

The plot has no tolerance for logic and the dialogue is of the 'She's frustrated' 'Who isn't?' variety.

The effects are eye-popping and the look of the film is exquisite.

The film maintains an excellent blend of the domestic and the dramatic

Changing the main character's sex from a man to a woman is the most obvious and radical idea Taymor brings to the table, and it succeeds in deepening several of the piece's key relationships.

Romance is dead on arrival and the comedy should be served a gagging order.

The film exposes the haphazard working practices of TV journalism in dangerous places