Search: Starring Danny Huston

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

The film has a cheap minimalistic feel, although this adds to the theme of two men who are always trying to grasp at anything that comes their way.

Sends an icy blast of fresh air into the moribund genre.

There’s a specificity about the relationship between Cantwell and the Countess that makes it convince.

The Aviator is a beautiful picture with flawless performances, wonderful cinematography and extravagant mise-en-scene.

Burton does not think he needs to make up his mind about the tone of the movie. It is like a child ordering an ice cream with five kinds of toppings.

A disappointing, mundane psychological drama.

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

This is a film that takes no prisoners. It will live long in the memory.

It’s good to see that Smith is still willing to risk biting off more than he can chew.

The parallels with The Global War On Terror are obvious, but feel over-egged.

The choice of [director] Meirelles, who made City Of God with street children in Rio, was inspired.

It might be a deliberate choice to make a movie for new subculture-free audiences, but the stylish source material deserves at least some effort.

This is a talky affair designed to move away from the original BBC six-parter's cold-war paranoia in favour of a Michael Clayton-style corporate cover up.

It has all the hallmarks of a production destined for a television mini-series with apparently three other chapters promised by Costner.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

Although at times it verges on turning into CSI Riyadh, The Kingdom is ultimately much smarter and better informed than most of its ilk.

As the film progresses the voice-over - and, indeed, the music - begin to compete far too much with the action.

Huston's performances are astounding.

If we dare to be stupid, and The Naked Gun does, we can have a pretty good time.

Horribly unlikely, indulgent murder mystery, the outcome of which you're likely to guess at least half an hour before the end.

Cave's screenplay is full of rich incidents, impossible moral choices and, most of all, complex characters, brought to grimy life by the excellent ensemble cast.

Character is too often, for all the quality of the cast, too heavily sketched, a little too clumsy.

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

A monumental bore.

The performances by Steve Coogan (Stan) and John C Reilly (Ollie) are above and beyond the call of duty. They give the film heart.

All too soon the party's over, after a final serving of cheese, and you start to wonder why anyone actually bothered.

Sometimes a film is more, much more, than the sum of its parts.

Worthington is as nebulous a charisma void as ever, sucking all the life out of everyone and everything around him, while Liebesman is reasonably capable with action but proves a total hack when it comes to handling anything remotely resembling drama.

It’s not a washout, it’s just a mixed bag.

This intense, yet sidelong glance at a deeply polarising topic might just give new life to a debate that suffers from political hubris set against rather static public opinion.