Search: Starring Colin Firth

Action is controlled and distinguished by its restraint.

Essentially a celebration of glorious selfishness.

The boy discovers his father’s failings as he grows up and is hurt by them. His mother has always known, but she is of an older generation where wives were expected to suffer in silence.

The ending is a pastiche of the worst kind of Meg Ryan/Tom Hanks wet hanky job and a sop to the American market.

Firth is immaculately buttoned up and Grant delightfully flirtatious, although there is not enough of either.

Who do you trust?

Zellweger has impeccable comedic timing and the many small and big risks she takes with Bridget pay off.

The enhancements here come, not to the source material but to the look of the film, which is beautifully rendered in immersive 3D.

Perhaps it is gauche to call a director approaching 80 naïve, but that is the sentiment that lingers as Disclosure Day itself unfolds.

An involving mystery which, alongside its immediate concerns, asks questions about human nature and the inherent mystery of mortality.

To pull this off requires a strong script and intelligent direction, and, surprisingly, this film mostly succeeds, despite occasional moments of ham-fistedness.

This 1920s play by Noel Coward still dances along like a sprightly flapper, defying the passage of the years, thanks to Stephen Elliott’s energetic direction.

With Roger Deakins handling the cinematography and making the most of the magical light found on parts of England’s south coast, the film never ceases to be visually absorbing.

Seldom has passion felt so primed, or sex so explosive.

Colin Firth gives possibly his best performance yet.

Firth gives one of his brooding, unshaven, devilishly attractive performances, borrowed from romantic fiction.

A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.

Only Firth's performance gives it air. The plot lacks surprise and the humour has been planted in advance.

But the real disappointment is Everett, who gives a lazy performance, as if he knows he can do this backwards and simply can't be bothered.

In contrast to the stylised visual repertoire, The Golden Circle’s storyline is led by dolefully shallow plot twists and resolutions.

What begins as an Ian Fleming piss take ends in a Kill Bill blood bath

Although there is a lot of humour, crowd-pleasing fun and some award-worthy performances, there seems to be a lack of edge and darkness here.

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

There's a proper sense of adventure and the scale of the story is appropriate for a great legend. Unfortunately the sword it all revolves around looks as if it came from Poundstretcher.

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

One of the most elegant films of the year.

Mamma Mia! is a roller coaster of emotion, careering colourfully from the blue waters of the Adriatic.

The stakes are high and the fears tangible in this return, which invites discussion and doesn't protect parents from uncomfortable questions. This is the power of the film. Mary Poppins herself wouldn't want it any other way.

This is a film full of notions about the way dreams shape our personal stories as much as being shaped by them.

The façade of a happy picnic shows all the cracks, despite the lovely geese flying overhead.

What is missing is kiddies' fun.

The movie becomes ridiculous.

Elegant and gripping but perhaps just a little genteel.

It is a story of courage, redemption and forgiveness. And it's true

The look of the film has been influenced by the contents of a dressing up trunk and the style lacks Coward's lightness of touch.

The air is heavy with irony, light with laughter and alive with love.

Firth produces a subtle and deeply moving performance.

With eloquent, understated performances from both leads and a willingness to take its time, Supernova explores not merely the issues they face but the life they share.

Everett almost single-handedly sustains the film, thanks to a nicely pitched turn as the headmistress with a heart.

A fertility flick for women whose feet and minds seldom leave the stirrups.

The cool colours and muted emotions of this John Le Carré adaptation fit the 1973 Cold War backdrop perfectly and are appropriate for the murky world of moralistic shades of grey.

Trauma simply fails to engage the viewer's interest.

Dennie Gordon's 2003 version resurrects the worst aspects of English class snobbery in a film that makes you squirm with embarrassment.

A straightforward whodunit, you might think. Sorr - y! This is an Atom Egoyan movie and nothing is ever that simple.