Search: Starring Gael Garcia Bernal

This film is - sorry, but it has to be said - the dog's bollocks.

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

It's classic film noir; except that, being the work of Pedro Almodóvar, much of it is shot in lurid colour, not all the girls are really girls, and not all the boys are what they claim to be, either.

A bold piece of film-making that's daring, dramatic and different - even if it won't be to everyone's taste.

The film walks a difficult line between celebrating the genre and mocking it for, essentially, being cash-strapped.

Simplistic moral answers to the question of Christianity are like flags of convenience.

Bernal proves to be a vibrant director, his swooping steadicam and queasy close-ups placing the viewer right in the middle of the party.

Di Girolamo has a compelling intensity in the role but it's still hard to believe that everyone would fall quite so hard and fast for Ema's devil may care charms and unpredictability, especially with so much on the line.

The film's heart is certainly in the right place, but its narrative is more of a scattergun affair.

The director, perhaps too accustomed to the more limited budget of his early films 77 Doronship and Salamander, imagines the story of Peron's corpse as a series of vignettes, which gives the film a feeling of a unsatisfactorily adapted stage play.

For anyone who has experienced the obsessive attentions of a teacher, this makes for uncomfortable viewing.

The degree to which this film is unsettling is testimony to the strength of the acting and direction.

Christopher Egan's achingly bad condescension to Hollywood's stupidest stereotype of the Englishman would be better suited to a Zucker brothers parody.

I suspect even Jarmusch’s most ardent fans will find longeurs.

The plot and characterisation feel subordinate to the social commentary.

The film has a huge heart.

The director has an aptitude for taking a dash of the familiar and giving it an individual twist.

A triumphant piece of filmmaking.

Pablo Larraín's No is a resounding yes!

A solid, and certainly heartfelt effort.

Bernal and Luna bring the same casual and endearing spontaneity they showed in Y Tu Mama Tambien to the fore again here.

The posturing and overly theatrical nature of the delivery is going to make or break the experience for many.

A visual treat.

Silver may succeed in pushing emotional buttons but its people's heads that need to be engaged in tackling this complex issue, not just their hearts.

The characters of Tenoch and Julio are beautifully realised by Luna and Bernal. They bring energy and verve.

With competent actors and a strong, if not particularly original, central idea, Zoom has the chance to do great things, but it all falls rather flat as the need to interweave the three story strands interferes with their natural pacing.