Search: Starring Benicio Del Toro

An equal, not a sequel from one of cinema's brightest hopes.

Certainly Soderbergh gives you a sense of the boredom of war - as the days tick by on the screen, you feel your own will to live begin to falter.

All the excitement of a wet weekend in Bognor.

Gilliam uses voice over (too much?) to give a taste of the Hunter S style and help explain what on earth is going on.

It all has a very particular flavour. Even a new one.

Overall, Guardians of the Galaxy is good fun.

Junk slush action fiasco.

Penn had a definite feel for the incidental details and the everyday rhythms of small-town life.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

Del Toro and Amalric with contrasting acting styles make a magnetic duo yet the ponderous detail of the therapy occasionally bogs down the film, so much so that even the two actors cannot surmount it completely.

Mark Osborne's gently unfolding palimpsest of a film is a sweet tribute to generations of readers who have been enchanted by the prince.

What starts as an almost domestic story involving a couple of low-rent hoods will gradually morph into a game of high stakes with unlikely players and a plotline that takes its cue from events in the real world full of corporate rather than card sharks.

One detail after another rewards.

The real challenge is to keep up with the pace as well as the information overload.

Having laid the foundations for a tense, realistic thriller, using documentary footage wherever possible, Sean Penn blows it with unnecessary camera tricks.

Leads and support cast alike march their talents off a cliff like the most earnest of lemmings.

Villeneuve sustains the knife-edge tension without a blip.

There are deeper moral questions, ones sufficiently metatextual that I in the audience began to feel and fear complicity.

I know it will mostly appeal to comic book fans like myself, but people should give it a chance, if only to experience its style.

Snatch is way over the top, like Lock Stock was, only second time around it doesn't feel so fresh.

Spacey is served by some wonderful lines, which could have come from a bloody pen of Satan.

It's that old magic again.

A manipulative weepie positioned for Oscar consideration.

Stephen Gaghan's script covers the territory with brutal honesty. The actors respond in kind.

Singer and McQuarrie expertly sustain a rich and tantalising conceit, keeping the reader guessing to a superb climax – and beyond.

The Wolfman is no one's definition of High Art, but it's great craft.

Some of the language draws blood, as film noir cliches are mocked, or discarded.