Search: Starring Emily Mortimer

Unoriginal and formulaic it may be, but the movie is great fun.

Where Fry succeeds so well is allowing the intrinsic innocence of these brittle butterflies to be exposed without mockery.

Oddly, Pixar don't seem to have many fresh ideas for wringing humour out of their what-if-we-were-all-cars idea, as a result of which it feels as if it has been awkwardly sandwiched together with the plot from another film.

The performances walk up and touch you.

While Caine’s no nonsense heroics will captivate, however, this is ultimately a single-minded affair, manipulating and twisting its way around audience heartstrings with unremitting sentimentality.

Anime at its very finest - lightning paced, visually stunning, feverishly creative and overrun by a logic all its own.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

It cannot be denied that Jay Kelly is interested in exploring the human condition through the lens of fame and fatherhood, but the romantic, sentimental, and saccharine tones come with a risk.

The Kid has a considerable amount of charm.

Every performance in it is perfect.

The performances are an absolute joy.

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 comedy in the Shakespearean sense, the whole story revolving around the importance of luck.

It is like nibbling for nearly two hours in the kitchens of the best chefs. At the end we are exhausted and hungry.

Although some elements don't work too well, namely the lacklustre, almost prosaic direction of Levy, it survives with a lot of positives, not least the return to maniacal form of its star, The Grey Haired One.

Steve Martin is actually quite good at times, but he's let down mostly by a wafer-thin script and misguided direction.

The main weakness of the film is that the idea is not enough to sustain 85 minutes

It's so scattershot that one finds oneself inventing titles for the 'stories' within the anthology.

Both gripping morality tale and satisfying thriller.

Director Natalie Erika James, still only in her twenties, draws viewers into her astonishing debut feature by externalising the horrors of a disease that will be all too familiar to many.

No defense against a life less lived

The humour is never allowed to knock the fear.

Even when one has a rough idea of where this mystery thriller is headed, the devil is in the detail, and each turn of the screw is handled with the sort of deft craftsmanship that becomes a pleasure unto itself.

One increasingly unlikely incident follows another, saddling the characters with exceptionally dumb behaviour and silly dialogue until the whole thing goes off the rails.

There's an adequate set-up here for a heist story but what actually unfolds is a series of schemes that seem confused, inconsistent and sometimes altogether unnecessary.

Emotion stains the walls of this period film like gutter waste.