Search: Starring John Turturro

The film has the maverick nature of originality, constantly surprising, never explaining.

This feels leaden, not just due to its length, but in the attempt to be heavy, to be worthy.

Oddly, Pixar don't seem to have many fresh ideas for wringing humour out of their what-if-we-were-all-cars idea, as a result of which it feels as if it has been awkwardly sandwiched together with the plot from another film.

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

A world away from Hollywood now, Bloom shines in the small independent films that seem to be his first choice, and this is no exception.

The madness and the badness is everywhere - the dangerous and the foolish

Throw away The Bible and let's look at this thing afresh

Good intentions and an interesting (though weird) core idea are not matched by the execution.

Fraught and anxious, yet enigmatic, Turturro's performance is beautifully understated.

It is only after leaving the cinema that questions come bursting to the surface, not that they undermine Dr Niro’s magnificent achievement behind the camera

What does it mean to be a real boy? Perhaps the answer doesn’t lie in flesh and bone.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

One of the best British films of the year.

Potter manages to imbue Suzie's story with a feeling of anticipation, as if her life is fresh and innocent.

Margot ought to be a plum rôle, but Kidman withers it to a prune.

Classic Coen Bros.

More watchable than ever.

In the end, it is a question of taste. Either this is Capra refried, or Sandler on toast.

Nobody sneaks up on you, light-footed, perplexing, hilarious, quite the way Nanni Moretti does with his scenes.

Comic invention rides shotgun on a screenplay that runs wild.

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

The film has an authenticity that cuts deep.

As a thriller, it is non-conformist and packed with surprises.

Me hate it.

High-octane nonsense for those who suffer from permanently arrested development.

It is bigger and longer than the original – but certainly no better, and this time round lacking even a novelty factor.

The original Pelham was a tense affair but this modern version cranks up the edge-of-your-seat factor even further.

It’s the cinematic equivalent of Morris dancing: there’s lots going on, it’s entertaining enough – but you’re not entirely sure what the point is.

None of this is fresh, but it's approached with a certain vigour and a disarming lack of pretension.