Search: Starring Gerard Depardieu

The film would embarrass a turkey farmer.

Directed by Olivier Marchal, an ex-cop himself, the film looks terrific.

With enjoyable performances, particularly from Lacoste and Gallienne and a decent stab at an 'importance of friendship' message underlying the laughs, Asterix is pleasant company, even if this isn't quite as magic as his potion.

The effects do not enhance the comedy, rather override it, exposing a dearth of imagination.

Never really delivers the goods like it should.

Though well executed, there isn’t a great deal to elevate the story beyond a solid genre piece.

This is a first-class production, with lavish sets, sumptuous cinematography and a script that squeezes excitement and humour out of the most mundane opportunities.

Jean-Paul Rappeneau has taken the spirit of Edmond Rostand's play and filled it to overflowing with energy, rumbustiousness, eloquence and panache.

Here, the times are changing and so is the plot. In fact, you can expect a mood swing every five minutes, in a story so muddled even the strong cast, including Gerard Depardieu and Catherine Deneuve, can't save it.

Sadly the main story... is pretty dull, uninspired stuff

By this point in his career, Ken Branagh had found his voice and a set of skills to match his confidence.

This is a bleak portrayal of a generation and, yet, despite this it has an eloquence and even a sense of romance.

This is less fun than a month at Butlins.

Depardieu's role feels underwritten, although you can't fault Truffaut for an accurate assessment of not just his character but the star when someone describes Bernard as being "a little like Jean Gabin, physical yet gentle".

Denis and Binoche take a perceptive and light approach to what could have been hackneyed material.

The introductory credits are among the most marvellous images seen on screen.

Anchored by Depardieu's unflinching performance and his sheer physicality, the film mixes melancholic nostalgia and mordant satire with a strong sense of the absurd.

This is Depardieu's strongest performance for years.

The production's lavish attention to detail in its recreation of the poverty and luxury of the time shows up crisply on this DVD, which is a visual feast.

The star himself commands an uncharacteristic stillness, dialling down his famous charisma, surrendering himself to the material.

Many of the scenes are fairly explicit, but as the film sets out to observe, rather than make judgements, nothing feels shocking, salacious, pornographic or disturbing.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

The raw energy that Cassel brought to his role in La Haine has been harnessed again.

What saves Jean Becker's story - eager to tie things up rather too neatly in the final reel - from being over-sweet, are the performances from Depardieu and, particularly Casadesus.

This is a film, not about marriage, or sex, although on the surface that's what it appears, but about lies and whether absolute truth in life and love is possible, or even preferable.

Never shy at innovation, Godard tells his story in a new, deep and meaningful way.

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

The film exposes a police force no longer in control of itself.

Ozon uses the building blocks of the comic tradition to tell a much more empowering tale that plays genuine tribute to a rounded female character.

Depardieu gives as strong a performance as he ever has and he's not let down by the supporting cast, that is superb.

There's a subtlety to all this that speaks well of Meyer's thoughtfulness - she never goes for easy options such as having one character be prejudiced against the other, instead simply allowing a respectful attitude to grow into an increasingly strengthening bond.

Gerard Depardieu... gives a performance that is accurate, sincere and unwatchable.

The Singer is a healthy reminder of the unequivocal natural force that Depardieu can summon when he's in focus and on target.

The film ceases to be history or documentary and starts to topple into the realms of propaganda.

The natural wonders of the desert can be read as an invitation to reach into the vast barrenness inside.

Above all, the film leaves you with the understanding that this woman’s life could not have been lived any other way.

Ferrara invests it all with the pseudo-docu urgency of something ripped from the headlines.

A great way to get into your average Frenchman's domestic head but stand back and watch – don’t inhale the smoke from Les Gauloises!