Search: Starring John Cusack

In terms of quality, 1408 is neither executive suite nor basement broom cupboard.

Never fear, the requisite monuments duly get what's coming to them.

The movie is fun, without being furious.

Who are those grown-ups weeping in the back row? Ignore them. They're historians.

It is a triumph of imagination. The real-life Malkovich is put through appalling humiliations, to which he subjects with grace and humour.

The performances reflect Robbins' upbeat approach and are as enjoyable as they are inspired.

Though not entirely successful, Lee's adaptation certainly has balls.

Distorted probably isn't the stepping stone back to stardom that Ricci needs, but her performance in it demonstrates why she still deserves to be seen as a serious contender.

One of the many reasons why High Fidelity is essential viewing is how well-observed it is when dealing with love and relationships.

What ensues is an odd combination of comedy types, which despite being more muddled than a frat house 'cocktail' still manages to maintain a level of charm.

A fascinating psychological thriller.

There are too many ideas, both verbally and visually, to take in before the ghost of Walt Disney has a spectral moment.

Race is a complicated issue, and knowing the past, Daniels seems to say, is as important as making up your mind to act in the present.

Pohland - working with an impressive script by Oren Moverman and Michael A Lerner - manages to orchestrate a musical path between the double storyline that finds unity through the creative process.

Moore gives a frank and funny portrayal of female status at a certain age in the Dream Factory.

Has a dark, post-Apocalyptic feel to it, with a vibrant artistic life.

There is no character developement, no tension.

Its predictability acts like comfort food and the complete absence of surprise feels satisfying, like a Wendy's double burger with cheese.

The references are messy, the gestures grand.

What keeps the film one step away from Slush City is the crackling dialogue and the performances.

Camp when it could be creepy, silly where it should be scary, V For Vendetta director James McTeigue's latest offering is fitfully entertaining but tragically turgid and formulaic for the most part.

The production values and high octane performances make this an entertaining piece of hokum, although the sentimental denouement is a disappointment.

A film to treasure.

Though Poe's prose was sometimes lurid, its visualisation here is spare.

Nil points for originality.

It is as though the cast and scriptwriters are constantly nodding to one another and admiring their own cleverness.