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Nolan has gone beyond DC Comics into a psychological no-man's land where lessons can be learned.

The film's biggest disappointment is that it just isn't very scary.

So overloaded with oddball characters that it never finds an even keel.

The humour is fast, the car chases hairy, the characters way wicked, the venues seedy, the fun accident prone, the sex tantric and the chance of living until tomorrow slim.

When the daughter of the richest man in town is dragged from the bottom of a muddy pond because of the psychic's premonition, you know this can be no ordinary thriller.

The script depends on the pieces fitting together at the right time in the right places, ignoring daft coincidence and ludicrous possibilities

Schumacher uses split screens and visual wizardry to retain a breakneck pace.

As a heartfelt tribute to his mother, writer/director Peter Hedges's film is one of those well-intentioned pieces you feel awkward about criticising. But, like a sign that pleads 'please don't kick me', the temptation proves impossible to resist.

This screenplay, twisted out of shape to fit the demands of Hollywood, is a postumous reminder of Potter's unique talents.

There is a luminosity to Dalio's imagery, a beautiful use of colour, that encourages us to engage with these people and feel their joy as much as their pain.

The debuting Reitman handles the film with inventive style and confident assurance.

Elegantly put together and watchable throughout, but falling short of the potential offered by this fascinating case, Woman In Gold has the shiny appeal of Klimt's work but none of the depth.

The most intelligent American movie since The Ice Storm to deal with the dissolution of promise, the death of ideals and how creative passion is a form of insanity.