Search: Starring Kristin Scott Thomas

An enjoyably salacious, seedy experience.

This is a fantastic chance to see some of the industry's greatest talents at the top of their game.

The film neatly encapsulates the frustrations provided by its director: talent is displayed and interest grabbed, but in the end there’s only mild dissatisfaction and a sense of untapped potential.

I can hardly remember a movie more spectacularly ill-timed.

There is an awkward balance here between the focus on capturing real events and a clear desire to play to the gallery.

This 1920s play by Noel Coward still dances along like a sprightly flapper, defying the passage of the years, thanks to Stephen Elliott’s energetic direction.

Seldom has passion felt so primed, or sex so explosive.

The audience is taken from delight to despair, while never truly losing its grin.

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

Stories as good as this are rare.

Ozon loves to let his audience's perceptions clash.

The film suffers from a profusion of good taste

It is good to see Kristin Scott Thomas, often underused, in a role which makes real demands on her talents.

None of this is funny. It's embarrassing, or sad.

German star Tomer Sisley brings a winning level of charm to Largo, rising to the physicality of the role and injecting humour, but never letting it slip into pastiche.

An uneven film with occasional moments of genius.

You don't need the sheet music to know that this is a familiar tune and the film does lean into all the expected emotional beats heavily.

For those who cannot follow the plot there are some really good set pieces, with enough tension and excitement to carry the movie.

In casting its net My Mother's Wedding has just a few too many gaps.

There is something a bit bland, a bit kitchen sink, a bit telemovie, about this portrait of the artist as a young man.

Perhaps Winding Refn’s most deliberately difficult work to date.

Portraying a woman of such character is no easy task, and it's unfortunate that the task has fallen to Natalie Portman.

Scott Thomas is a revelation. Few actors work from the inside out with such delicacy and focus.

What is fatal is to make the mistake of thinking, because Hitchcock built up his illusions so well, that this is a story about nice people.

Blunt and McGregor do what they can but they, like their characters, are swimming upstream in a river of syrup to a soundtrack that came from the drawer marked Now That's What I Call Celtic.

The drama of Julia's modern life quite simply can't compete with the history lesson that has gone before.

There are too many scenes of men gabbling incoherently and not doing anything.

The film looks right but feels strangely familiar

This is a crisp and well made thriller. It confidently moves the story with its universal themes of secrecy and the abuse of power to France, and grips all the way through.

The acting is either terrible or terrific and the social set pieces, like the Princess's dinner party, seem positively absurd.

A real cinematic gem disguised as a rhinestone.

There's half of a good film here, but Pawlikowski approaches his material in a way that undermines the rationale and our perception of the film's third act.