Search: Starring Dustin Hoffman

For the patient and intelligent viewer willing to give it a chance or for those interested in the topic at hand, this is cinematic gold-dust.

More often than not, when emotion is called for, Michael Konyves lays on the scripting far too thick.

As if it's not bad enough that Chef is marinated in sticky sentiment, Favreau's occasional attempts to sprinkle in heavy-handed drama make for a stodgy mix.

The strength of the film lies in the singing, which Girard himself directed.

Clever thrillers that flirt with film noir are always welcome, but this is too smart for its own good.

A sterling, if uncinematic adaptation, without pretence or frippery which could dilute the potency of performances or writing.

It is difficult to find anything bad to say about a film that treats an interesting subject with such respect and ingenuity.

It feels as fresh today as it did then.

Ashby's daughter Leigh MacManus is one of the few contributors to offer an off-set perspective of the man - and it comes with a poignancy and beat of heartfelt truth that is lacking elsewhere.

This is as inventive and left field as Being John Malkovich, but with broader smiles and bigger issues.

A thoroughly enjoyable confection that will amuse the kids and provide some decent laughs for those of us for whom attempting a roundhouse kick would require pain medication and physical therapy (I know, I tried).

The vocal cast is star studded. Trouble is they are given too little to speak.

If you're looking for something to while away a weekday evening or waste a carefree afternoon, you're in for a treat.

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.

Despite same old same-old, the performances are interesting, the attack on media integrity spot on and the sentiments sweet as strawberry shortcake.

The only thing of quality is the poster. Its artistic imagination outstrips anything in the movie.

The balance of the super real with intricately timed artifice and how they collapse into each other is Baumbach's crown achievement.

As painful as a kick in the pants.

It is described simply as “A Fable”, but there is nothing simple about this over-ambitious allegorical sprawl.

There are still very few films that make room for male characters to be emotionally honest to this degree.

It moves at a respectful speed, slower than a teardrop.

We're told that Natalie Portman's character doesn't believe in herself. The sad truth is that neither does this film.

There are some superb bits of camerawork used to communicate Grenouille's experience of the world of scents, though unfortunately, having begun to express itself this way, the film doesn't have quite enough to go round.

A clear, clean picture without tricks

Just so you know, if you've seen Babe, or Animal Farm, there isn't any reason to see this. I'm surprised there haven't been infringement lawsuits threatened.

This is not a great film. It is not a terrible film, either. It is a long film.

It’s only Hoffman who is really able to interject some energy into proceedings – ironic given that he spends a lot of his scenes in a haze of cannabis smoke.

The production values and high octane performances make this an entertaining piece of hokum, although the sentimental denouement is a disappointment.

A superb testament to inventiveness.

The film has been unjustly vilified. It has a powerful impact, not only because of the violence, but because of its visual and emotional clarity.

I found myself transported back to a time when I truly believed there was every possibility that I would grow up to be a princess.

The humour is knuckle-to-knuckle, accurately sending up the media's hunger for a story, any story.