Search: Starring George Clooney

The killer-for-hire subgenre takes on an abstract, existentialist complexion.

It is not as though we have not seen this sort of comic crime-gone-wrong chaos from the Coens before, but there is no-one who does it better.

This is Clooney's debut as a director and he does a terrific job.

Payne's premise resembles a dare: How can I make you care for a person who looks and acts like this? He works the Disney device of love at first sight in reverse.

A fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit.

All this window dressing is just sleight of hand; pull it aside and there’s no movie there.

Good Night, And Good Luck proves that it is still possible in the cinema, if not in television, to inform without being boring and entertain without condescending.

Alfonso Cuaron's film comes with a powerful force of its own - one which drags you towards the edge of your seat, forces your nails down into the cinema arm rests and sucks the breath out of you.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

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

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.

A treat for the senses from beginning to end.

An enjoyable if uneven feel-good swipe at both US military and human endeavours.

Swinton’s magnificent juggling of callousness and vulnerability is the single best female performance I’ve seen all year.

This is what cinema does best - showing us technicolor worlds that make us see and appreciate the black and white home.

An efficiently diverting thriller.

The film becomes a mixture of Dad's Army and The Cockleshell Heroes (without the cockleshells).

Twelve is the new 11 and mediocre is the new good.

The plot may be off the credibility charts, but while you're in it you're loving it.

If ever a film seemed aimed squarely at a family matinee audience, this is it.

Even Jim Carrey couldn't get away with a plot as daft as this and since it's based on an Elmore Leonard novel, you wonder whose to blame.

Comic invention rides shotgun on a screenplay that runs wild.

There is no room for quirky individualism, as writer Bill Wittliff shovels on the sentimentality. Even the dialogue is highlighted with italics.

Soderbergh's use of real time, old time, dream and memory is orchestrated with such delicacy that the meaning of truth dissolves into pure sensation.

Trey Parker (director, producer, writer and voice of half a dozen characters) does not simply debunk institutional humbug, he twists its pigtail and stomps on its rhetoric.

An action-packed, critically intelligent thriller...the effect is both breathtaking and harrowing.

Nil points for originality.

Don't be fooled into thinking this is just another buddy-buddy war picture. It is something really rather unique.

The most infuriating Disney movie ever

A quick script and sharp performances all round help deliver an enjoyable, if ultimately sentimental commentary of the times.

Does not live up to its promise, but is worthy of encouragement, nevertheless.