Search: Starring Elle Fanning

Annette Bening gives a glorious, all-encompassing performance.

Assisted by the remarkable cinematographer Rodrigo Prieto, Iñárritu moves seamlessly from the arid isolation of a Moroccan village to the gleaming modernity of Tokyo to the colorful chaos of Tijuana, his camera alternately capturing scenes of hope and des

There is nothing here to be afraid of and a whole bunch of sweetness to wrap around a girl who makes you want to say YES!!

Coppola’s desire for a new “soft” approach seems to have emasculated the original material while failing to engross our senses with her storytelling techniques.

Having set a scene of intriguing grotesquery the plot falls victim of its own invention

The incomparable Denzel Washington gives another of his thoughtful, sensitive performances that carries a surplus of the dignity gene.

We may lose Irving's energetic prose but, thanks to Williams, we lose none of his narrative bite.

Fanning's sincere face in happiness and disbelief is the essence of the film.

The energy is electric

This odd couple film could easily have been mere farce, but the two leads, both on top form, imbue it with a warmth and pathos that breaks through in unexpected places.

An interesting side to this film is how Disney continue to stick two fingers up to the reactionaries.

Elle Fanning as Shelley has sadness and fire, a performance that could be classed as electric.

My Neighbour Totoro is a true family film, both about, and for, families and while it is wholly concerned with good, decent, likeable people (as well as endearing rustic entities), it somehow avoids saccharine sentiments or a pat resolution.

After all the care taken in this film, it's sad that the resolution is so cliched.

This is a film about greatness and those who have it thrust upon them.

The bones of the story are familiar but this is new flesh upon them, a vital bit of rejuvenation and not tedious taxidermy.

Throughout, it’s uncomfortable viewing due to the sheer awkwardness of the subject matter.

Lacking any sort of critical distance or self-reflection, it’s merely a wafer-thin portrait of an artist suffering from… something.

What marks Trier out is his ability to take on intellectual ideas like this but make them play out in ways that don’t feel forced or overly constructed.

More nervous children (and adults) would be well advised to stay away. Everybody else should go and see it as soon as possible.

Despite this period being so rich in potential subject matter, this admittedly handsomely mounted, nimble and quite funny film chooses to take a pretty much conventional ride to a victory-lap finish.