Search: Starring Channing Tatum

Blends zany character comedy and squeamishly surreal grossout with some postmodern wit and knowing parody of action cliché tropes.

Ideal summer entertainment.

Imagination breaches the boundaries of wonder

This could have been so preachy and political, but the performances from the young cast are excellent and Jackson has such natural authority he carries the audience with him.

There are a couple of good laughs but they certainly don't carry two hours of film.

Tawdry and shamelessly manipulative.

Macdonald proceeds to let his narrative grind to a halt from which it never recovers.

Instead of emoting and getting involved we’re left with a sea of questions.

For all its star-power there's not much shining.

It's entertaining, no doubt.

Bennett Miller has secured his place at the forefront of directors who excel at character studies.

It’s all likely to bore even the teenage boy target audience who’ll have outgrown the eponymous toys by the time they might stand a chance of being diverted by this tripe.

What rescues A Guide To Recognizing Your Saints from bland conventionality is Montiel's bravura approach to direction.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

Soderbergh lays the pretension on thick in flashbacks to the Barcelona job that is clearly at the root of her problems, with slo-mo here and black and white there doing nothing to distract from the fact that it has all the substance of a chocolate bar adv

De Araújo is particularly good at evoking the emotional turmoil Jo feels.

In crash bang lingo this would be dubbed explosivimo

The Lost City proves just how much extra mileage you can get from a well-worn premise if you get the casting right.

The script depends on the pieces fitting together at the right time in the right places, ignoring daft coincidence and ludicrous possibilities

Frank, funny and immensely entertaining, Magic Mike is a brilliantly bittersweet cautionary fable.

Pleasant enough.

Johnny Depp has rarely been better.

Soderbergh, just as he did with his 2011 film Contagion shows that the disaster you expected safely elsewhere, is right in front of you.

There is hardly a moment that does not resort to cliché, formula or stock characters.

Stop-Loss is the most pro-troops Iraq war-film I have yet witnessed.

Once the explosions begin to kick in the film concentrates on Tatum and Foxx on the run - an easy-going and watchable pairing that displays real chemistry.