Search: Starring Jim Broadbent

Although the tragicomic episodes that make up Another Year seem casual and low-key, they encompass birth, death and everything in between.

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

The boy discovers his father’s failings as he grows up and is hurt by them. His mother has always known, but she is of an older generation where wives were expected to suffer in silence.

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

The ending is a pastiche of the worst kind of Meg Ryan/Tom Hanks wet hanky job and a sop to the American market.

Firth is immaculately buttoned up and Grant delightfully flirtatious, although there is not enough of either.

Zellweger has impeccable comedic timing and the many small and big risks she takes with Bridget pay off.

Where Fry succeeds so well is allowing the intrinsic innocence of these brittle butterflies to be exposed without mockery.

With old-school romance pumping through its veins, fans of the genre will find this a pleasing indulgence.

It is a red-blooded, beautiful and brilliant fantasy film, as quintessentially English as Wallace & Gromit.

This is a film that will be enjoyed most by people who haven't seen many other films.

Plot black holes quickly emerge and start to suck all believability out of the film.

Jordan's film stands out as a beacon of humanity.

It’s Sheen’s ability to humanise the brilliant-yet-volatile legend that hits the back of the net hardest.

There's some lovely family-driven humour in the script by Richard Bean and Clive Coleman delivered with great comic timing by the veteran leads.

You don't have to like skiing, or care less about the Olympics, to root the hell for Eddie

The plot becomes tangled in its own loose ends

The acting is ensemble, which means no-one stands out and everyone chips in. Day-Lewis, unrecognisable behind a 'tache wedge, is the most memorable, due to The Butcher being a bigger sicko than anyone else.

Deserving of the hype.

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

As each of the Indiana Jones films has demonstrated, iconic talismans from the past can still conceal an awesome power.

Frankly, it’s a muddle.

Eyre does nothing with the camera except place it in line with an actor.

Anyone over the age of 35 will find the whistle-stop, romanticised tour of Thatcher's career offers scarcely any insight, skating over most of the interesting issues.

This gang may look like lovable rogues but they're as hard as a boot in the bollocks when things get sticky

By locating its own dedicated critic within the action of the film, it is possible to point out the triteness and question whether life can be so simply encapsulated within the tidy confines of literature.

Excellent acting alone can’t stop the nagging suspicion that things are being grossly simplified.

The plot may be puerile, but the action never stops and the animation, however achieved, is most impressive.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

John Sullivan's script fairly skims along, rattling out the rhyming slang, while being affectionate with local villains.

Paddington is irresistible, funny and smartly constructed with a disarmingly big heart.

This is exactly what a sequel should be, respectful, goose bumpy and warm hearted

The plot meanders and doesn’t stand up well to scrutiny.

The clash of styles is painful to watch

Robots has a glittering voice cast and astonishing CGI animation and yet is over endowed with too much of this, too much of that and too much of everything.

No defense against a life less lived

Six Minutes To Midnight is a labour of love and it shows us how innocence can be lost.

Bille August is a director who responds to the sensibility of abandonment, recognising an outsider's perception.

A family movie of considerable appeal.

Imagine the worst children's TV programme you've ever seen. Now remove any residual plot, replace the professional crew with children and halve the effects budget.

It is the people who matter, not the frocks.

It may waver, but it knows where it is going, and in the journey has something to say.

This one's a little bit more for the kids, as far as funny goes, but if that's a bit of a turn off, think of it as a good way to introduce youngsters to an important part of British history.

The film looks magnificent and the performances, particularly from Witherspoon and Atkins, are exemplary.

Likely to strike the strongest chord with couples who understand there's a double meaning to enduring love.

Well framed and assembled, with plenty of good performances.