Search: Starring Harvey Keitel

Scorsese's direction isn't showy but he keeps his camera fluid, giving scenes a sense of movement even when the characters are static.

Besson breaks all the rules and doesn’t get away with it.

Neither director nor star ever lose sight of a simple compassion that insists that no one, as long as they retain even the faintest glimmer of self-knowledge, is beyond hope.

The only flair exhibited in Be Cool belongs to the set designer.

Bertrand Tavernier’s 1980 curio Death Watch remains a chilly and enigmatic film, one which is hard to love but not hard to admire.

It's difficult to make an epic film on a small budget and even Scott's striking talent is never quite able to keep pace with his ambition.

It delivers every experience I treasure in great drama.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

Jane Campion sets herself high standards... To say that Holy Smoke feels less of a whole than her previous work is not to dismiss it.

Scorsese shoots at what is truly important in life and does so, miraculously, by putting the spotlight on organised crime

Inferior to the original in practically every way.

Eytan Rockaway balances on a thin grey line between black and white, truth and lie, and between good and evil.

The script is cleverly done, the key relationships well and economically drawn; and while this is clearly comedy, it does not pull its punches.

A powerful experience, brimming with raw talent.

The perfect summer movie for the eternally 12 who like to travel in style.

National Treasure is just plain boring. There is no mystery, or sense of discovery.

With an unchallenging plot, some interesting facts thrown in for history fans, and likable characters, this is an unpretentious, entertaining film which adults as well as kids can enjoy.

One Last Dance tries to be too clever for its own good, attempting to explore a mixture of themes that don’t blend together well.

Smutný gives us faces that will stories even when they're still, the weight of long experience etched into every line.

Hunter delivers a riveting central performance, her silence speaking for a myriad women whose stories have been overlooked by history.

Excitement shivers through each scene with quirky, individual peculiarity.

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

Norton holds the film together. He is such an unselfconscious, natural actor. Fiennes gives it welly.

Tarantino's talent for dialogue is what catapults Dogs into instant-classic status.

While admiring the motives for resurrecting the Furtwangler case, it is difficult to feel sympathy.

This is an extraordinary film. De Niro in the central role delivers one of those powerhouse performances that simply blows the audience away.

The fact that this film still gets people talking, and arguing, nearly 20 years on, is surely an argument for its quality and relevance.

The acting depicts fear and determination - no shades of emotion, no humour.

Inevitably, not all of this works, but there is rarely a dull moment.

The trappings and style more than make up for any lack of substance.