Search: Starring Bill Murray

This isn't the finest example of the documentary art, but it may well be one of the most enjoyable films you see this year.

Unpredictable, offbeat and peppered with absurdist humour

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

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

The performances reflect Robbins' upbeat approach and are as enjoyable as they are inspired.

Good as Caroline Thompson's script is this is a City Of Ember that could do with a little stoking.

Chaotic, funny, beautifully shot and performed with a childlike deadpan.

Jarmusch usually manages to invest his films with a quirky sense of humour, but here the lines fall decidedly flat.

Alternately hilarious and touching.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

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

A very New York film.

Bill Murray is the voice of Garfield. So laconic, so cool, it's amazing they have never joined up before.

Two lazy fat cats with accents halve the fun.

Although this is worth watching purely for Duvall's superb turn, he doesn't want for support.

A ridiculous idea spun into a film that skilfully mixes genuine laughs with genuine frights and chills.

The latter part of the movie labours as Reitman aims firmly for the rose-tinted jugular of parents courtesy of cameo appearances that don't sit comfortably within the fabric of the film.

Painting by numbers and staying comfortably within the lines might pass time but I wouldn't call it entertainment.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

The actors (or director) clearly only have half a clue what they're saying.

Are Bill Murray's fabulous presidential brogues what is worth remembering most, or are some of the statements about gender still valid commentary?

Go in as a fan of Anderson's work and you will not be disappointed. Go in as a fan of film and you will likely be delighted.

The film has adventure at its heart and excitement in its pocket.

I suspect even Jarmusch’s most ardent fans will find longeurs.

Anderson creates sealed, self-supporting worlds, crammed with excruciating detail.

Shot in vivid colour and interspersed with some terrific songs, this is a formulaic story but a hell of a ride.

Neat little potted history that it is, it doesn't really require the viewer to know the sport in depth.

The pace may be slow, but the feelings are racing.

By the half way point I was beginning to take back everything I said re Steven Soderbergh's dull-as-ditchwater Che: Part II - even he manages to drum up more tension than this.

The premise pushes its luck in the street cred dept.

The film becomes a mixture of Dad's Army and The Cockleshell Heroes (without the cockleshells).

The perfect summer movie for the eternally 12 who like to travel in style.

We lack emotional investment in the underlying situation, possibly because Coppola is aiming to play almost everything for laughs.

It disappoints on two fronts. The directors, Bobby and Peter Farrelly, love vulgar so much they can't be anything else and the complexity of the human body is too wondrous for a bunch of animators to figure out.

Stiller, Paltrow, Murray and Luke Wilson needn't have bothered. Their characters are stuck in ruts.

What gives this film an edge over conventional rites-of-passage movies is its oddity.

It must be said that time has not been kind to this film.

Richard Donner shoots the film as a supernatural fantasy and gives it a superior shine.

Bill Murray is acceptably crusty, but hardly huggable

The plot does not stand up to scrutiny and is so full of holes it should sink to the bottom of the Everglades. It doesn't, because it has style.

Everything about Zombieland works, from the expositional flashbacks, to Columbus’ voice-over narration, to the well-judged but sudden changes in tone.