Search: Starring Geoffrey Rush

Tornatore's film makes deft use of cinematic cliché to lead viewers astray.

The children, including Nico Liersch as Leisel's friend Rudy, are genuinely good, but they are strong performances in service of a film that doesn't quite work.

On stage, energetic performances can overcome slight characterisation and shallow plotting but onscreen, the wafer-thin characters and lack of plot thrust are exposed.

The performances walk up and touch you.

When Liz dons her breast plate and rallies the troops at Tilbury, you'll want to put down your paella and rush out and sink a few Spanish ships yourself.

The thematic links are remarkable, because they reveal and conceal simultaneously.

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

Just because you signal to an audience that you're purposefully making them watch paint dry does not make the experience of it any less tedious.

Taymor has succeeded in recreating an extraordinary time for an exceptional woman. She does so with love and imagination.

An interesting example of technically inventive pastiche.

What might have been a scintillating satire on the cynicism of legal shenanigans is a pleasant enough runaround.

Although there is a lot of humour, crowd-pleasing fun and some award-worthy performances, there seems to be a lack of edge and darkness here.

Schizophrenic in its approach and vicious in its intent.

Production values and performances are exemplary, with only a nagging tendency to resort to flashbacks.

If it wasn't for Neeson, this would have yawned itself into unconsciousness.

By positioning itself carefully between the imperatives of retaliatory justice and their fearful consequences, the movie is ultimately less a political thriller than a mesmerizing study of psychological breakdown.

The film doesn't know what it's doing, or where it's going.

Drab and strangely unfocused.

A genuinely entertaining outing for the series, managing to generate both novelty and surprise while preserving all the best features of the preceding pictures.

Visually the film excels. There are scenes that lavish the mind's eye

Basing his character largely on Keith Richards and looking like a refugee from Adam Ant's Dog Eat Dog video, Johnny Depp crashes through the film, chewing up scenery and spitting it out with aplomb.

Visually, as well as in certain performances, the final instalment of Disneyworld Goes Hollywood has a healthy infusion of surrealism and a sense of humour.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

Kaufman's recreation of early 19th century Paris is more theatrical than real.

Ashcroft’s interpretation steers the story away from simple tragedy as we see Mortensen making gains as well as losses.

The air is heavy with irony, light with laughter and alive with love.

The performances are excellent, with Spencer conveying the emotions and suffering Tony endures admirably and Rush, as his alcoholic, abusive father is wonderful.

A movie with this kind of pedigree should not be a mess. And yet it is. Horribly so.

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