Search: Starring Amy Adams

Bradley Cooper as Richie gives the finest madcap performance of his career.

Denis Villeneuve's latest film may be about aliens visiting Earth but it's the people who hold his interest.

Like a mutant monster, barreling out of control and straining to contain its own shifting form.

Burton does not think he needs to make up his mind about the tone of the movie. It is like a child ordering an ice cream with five kinds of toppings.

It's never dull and always looks good, although the Sixties have become the Fifties - not a hippie, or civil rights marcher in sight

The finest performance of Hanks' career.

One of this year's must-see films.

There are too many clashes of style, as if rookie director Michael Patrick Jann has thrown everything into the pot and stirred.

A simple idea delivered so cleverly that it holds your attention from the opening of the storybook right up to its fairytale ending.

Christian Bale - reduced lately to whispering solemnity in the likes of Dark Knight and Terminator Salvation - gets to really cut loose with Dicky in a performance that is sure to give Geoffrey Rush a run for his money on Oscar night.

It is in these details, the small objects Jonze provides us with in his film of disembodied desires, that essences become distilled.

Recycled, repetitive and dull, Hillbilly Elegy strives for sincerity but lacks sufficient conviction to be either meaningful or entertaining.

Creates hauntingly evocative, empty spaces that bleed history.

Rarely does a character jump off the screen in the way Klara does. Ortega is luminous in the role.

Guinevere is the only well-developed character and the whole thing has an air of prettiness and predictability.

The first two acts are so strong, it's almost a shame that the invasion plot arrives, and things start blowing up real good.

Surrounding, supporting, and undermining the central love story, Paul Thomas Anderson paints unforgettable scenes that should be enjoyed in a rare 70mm projection.

As long as this zany crew of misfits continues to raise a smile, a laugh, even a tear, there remains a place for their alchemic power to turn on- and off-stage mishaps, arch pop-culture commentary and sly self-parody into entertainment gold.

The film’s biggest strength is its imaginative special effects.

Nightbitch is of an ilk that is off-kilter. It is unreliable and unstable. It is visceral and dark. It is taxidermy and what I think are freezer potato pancakes.

This is a study of bitter, sorry people hurting each other using ancient memories, propelled like bullets via the power of fiction.

The second series improves immeasurably over the first and proves all its doubters - including me - totally wrong.

The major problem is a bland script. There's next to nothing to laugh at.

While Adams and Blunt scrabble for subtext and a depth that simply isn’t there, the movie congeals around them.

The humour is so basic, it doesn't need a spell check.

Like the baseball diamond that features so prominently in his film, we all know which base will be dutifully tapped next and that a home-run for the characters is inevitable.

Compelling viewing.

The concept is fruitcake flimsy, decorated with sweet nothings and garlanded with small talk that would make Bridget Jones cringe.