Search: Starring Billy Bob Thornton

This is entirely Duvall's film. He gives himself a T-bone of a role, which he exploits with due diligence and compassion.

The film goes for broke. No safety net. No apologies. Believing in itself.

The anarchic nature of this dark comedy is the perfect antidote to family friendly Christmas movies, starring Tim Allen, now that Macaulay Culkin has learnt to shave.

Willis turns on the charm and is so laid back, he lets Thornton and Blanchett steal scene after scene.

Thornton's writing is well-observed, creating characters who, while embodying all the usual white trash traits, have a three-dimensional quality to them.

A western for sleepwalkers and dreamers.

Rarely has a film been so serious in its underlying implications and intent, and yet so moronic in its execution.

Ultimately a curious hybrid that admirably tries to transcend its genre trappings but sadly falls short of its noble intentions.

Friday Night Lights never wavers in its commitment to that perfect, quintessentially American moment.

What might have been a scintillating satire on the cynicism of legal shenanigans is a pleasant enough runaround.

Probably the most romantic picture Lyne has attempted.

Looks for insight where there clearly isn’t any to be found.

Brought up a notch by a fine cast, some genuinely funny scenes and a curious darker streak that lies beneath the laughs.

The film covers all the bases and yet fails to hit a home run

It feels middle-aged, lazy and reliant on stereotype.

Even the Coen Bros cannot stimulate interest in a guy who has switched the lights off inside his head.

Berry is open to the wounds of a role that stretches her beyond anything she has done before.

In the long standing tradition of MOR liteweight comedy, sentiment oozes through the gaps between testicle crunching and mom devotion

It’s one of the most perfect examples of this quintessentially American genre that I’ve ever seen

In this way, Miyazaki avoids any simplistic 'message', preferring to present a more complicated dialectic on the environmental difficulties that continue to 'curse' us to this day.

What keeps the film one step away from Slush City is the crackling dialogue and the performances.

Just a whisker away from being the cat's whiskers.

Defect Six: how do you make a movie about losers that isn’t a loser itself?

Tension leaks over the floor, like blood, until the denouement, which throws everything into the air.

Oliver Stone directs like a grasshopper on amphetamines.

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

For all its black humour, sexiness and intrigue, The Winner is lacking something in the final analysis.