Search: Starring Kirsten Dunst

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

Headland revels in the comedy of discomfort and keeps the one-liners coming, while still sticking to - and sticking it to - a romance plotline.

Coppola’s desire for a new “soft” approach seems to have emasculated the original material while failing to engross our senses with her storytelling techniques.

This is an adult, sophisticated love story, examining Marion Davies' passions for two very capable and sometimes ruthless men.

I think that Civil War succeeds but I'm still not sure what it's hoping to say.

This one has good chemistry and a feisty performance from Dunst.

There are too many clashes of style, as if rookie director Michael Patrick Jann has thrown everything into the pot and stirred.

A love letter to the resilience of the bereaved.

Despite a plot that reads like something out of Teen Romance, the film has great style and a wicked sense of humour.

Spencer [is] particularly strong in communicating not just fluency but enthusiasm for what she does.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

The relish with which Tom Cruise delivers even the most awful lines is quite engaging.

A sublime family thriller

An in-depth portrait of the production, a rare opportunity to see how a film on that scale is put together.

With its genuine Versailles locations and sumptuous costuming, Marie Antoinette is a feast for the eyes.

Lars von Trier's sublime invitation to the end of the world is a grand film by a master story teller who does not repeat himself.

Mona Lisa Smile is beautifully shot and the dazzling cast is always watchable.

Campion treats the material with such well-mannered reverence that you begin to wish that not just the characters, but she too, would loosen up a bit.

None of the subplots follow through. Ideas hang on hooks, waiting for collection.

The 12-certificate seems severe. This is a kids movie if ever there was one.

The effects are eye-popping and the look of the film is exquisite.

Whooshing between buildings at high speed over and over again feels like an overdose of Ritalin. The three-way baddie climax is nauseating, unexciting and full of contrivances.

Patricia Highsmith on a low flame

Coppola demonstrates remarkable confidence.

Consistently funny.

The humour is knuckle-to-knuckle, accurately sending up the media's hunger for a story, any story.