Search: Starring Keira Knightley

Like its central character, then, this is beautiful and brave even if it fails to fully realise its potential.

Bend It Like Beckham understands the rules of feelgood and will do well for that reason.

A series of pieces that each, in its own right, has some merit, but which together never quite gels.

It feels right, it feels good, it feels as sweet as a summer's day

This evocation of Colette in 2018 knows that its heroine will always be larger than what is on screen.

Is this a film about loss and how (not) to cope with it?

Keira Knightley... will be tough to beat at next year's Academy Awards for her portrayal of Spielrein

As a crime caper, it is complicated enough to make even Guy Ritchie go dizzy.

Ultimately, the film suffers from the same problem as the marriage it depicts: a lack of sizzling passion.

Possibly the best British film of the year.

The grandeur and beauty of the place is set against figures of climbers, like black ants, across a white wilderness

The signposts are misleading. This is an intelligent thriller.

The kind of period drama that screams “festival launch” but doesn’t trust its audience enough to tell its story subtly or with any surprises.

Brody's concentrated performance, as a man who may, or may not, be going out of his mind, creates a tense, claustrophobic atmosphere that pervades the film.

The script is clunky and the plot cannot be taken seriously

The dialogue has a tendency to forget what century it is.

Worthington is so wooden it's a wonder rubbing up against Mendes doesn't cause him to spontaneously combust.

It feels middle-aged, lazy and reliant on stereotype.

Apart from the women/cattle cliche it is difficult to tell where the dagger of disapproval is directed.

Never Let Me Go arrives trailing a lot of hype and carrying a considerable weight of expectation. Happily, it more than delivers.

There’s a refreshing straight-forwardness to Gavin Hood’s Official Secrets.

Basing his character largely on Keith Richards and looking like a refugee from Adam Ant's Dog Eat Dog video, Johnny Depp crashes through the film, chewing up scenery and spitting it out with aplomb.

Visually, as well as in certain performances, the final instalment of Disneyworld Goes Hollywood has a healthy infusion of surrealism and a sense of humour.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

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.

When it comes to Japanese slo-mo sensuality, there is nothing you can do but admire the photography, because arousal has been dulled to death long before.

Plays out like a high spirited seasonal version of Threads.