Search: Starring Jena Malone

Cinema presents us with no end of films focused on romantic love. This is a different kind of love story, addressing what, for many people, is an equally deep human need.

Far from being a merely polemical film, this emerges as a trickier, less easily defined piece of art.

This is high Gothic melodrama by the numbers.

Like a mutant monster, barreling out of control and straining to contain its own shifting form.

It’s good to see that Smith is still willing to risk biting off more than he can chew.

Sentimentality washes over the cold, technical body of the screenplay.

A film of extraordinary complexity and fascination.

Donnie Darko is probably the best evocation of the twilight zone of adolescence yet put on film.

It took me a while to warm to this film...But as Yong Kim explores her characters a more nuanced, rewarding movie emerges.

Costner is running on empty.

It has all the hallmarks of a production destined for a television mini-series with apparently three other chapters promised by Costner.

Jennifer Lawrence's expressions stretch from worried to confused

Penn’s camera loves the landscape and captures its immensity.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

With women like this so often reduced to a sexy and destructive cliché by male directors, it's interesting to observe her from a more human angle.

There's no doubt that by presenting several characters as pure id is quite a dangerous gambit for a filmmaker but Glass keeps things interesting by having them driven by different things.

There is no escaping the weightiness of the subject matter and Movermann treats it with the necessary respect, but he also shows evidence of a lighter touch, which helps to alleviate the pathos and prevents the film sliding into melodrama.

This is a film about greatness and those who have it thrust upon them.

This is the first time in ages - perhaps ever - that the hot-blooded delights of a country house ball have been shown to be fun.

It’s a peculiar thing to see a man who steals so liberally run out of ideas.

Laura Ramsey, in particular, is atrociously bad as the increasingly hysterical Stacy, so that one sometimes wonders if she's deliberately taking the piss.

The characters are neatly drawn and believable.

This could have been a fine film if it had been a different story about Bowie or this story about someone else.

Pleasingly disconcerting.

At first, you think Chris Columbus is going to take the subject seriously, but when Susan Sarandon receives bad news from the cancer clinic, he skids on treacle and is lost.

A sordid slice of rancid pop-culture vomit that leaves a toxic aftertaste.

Gere, despite his image both off and on screen, gives a flawless performance.

With impressively sourced archive footage, much of it in colour, the film presents a fair overview of its subject and finds time for laughs even in stories with tragic endings.

An accomplished feature about sin and redemption.