Search: Starring Laura Dern

The narrative is paced with the urgency of a thriller.

One of the great masterpieces of modern cinema

You might be forgiven for thinking: oh no! This is just Taken with snow! In every sense. But then, the film turns and something not quite right that you had begun to notice about it begins to take hold.

Certain Women is a film suffused in uncertainties.

Thornton's writing is well-observed, creating characters who, while embodying all the usual white trash traits, have a three-dimensional quality to them.

It’s somewhat odd that Mendez has opted for several different styles for this, but every one is enjoyable.

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

The problem is that it's not just sugar coated, it's frosted and sprinkled.

Understanding the flaws in a character who respects the capitalist ideal while denying the danger of outsourcing integrity is a hard sell

Roos, as a writer, has a flair for comedy, but he could do with someone else on board as director to rein him in.

Imagery and sound are so closely wedded throughout that at times it seems meaningless to distinguish between the two.

What should have been a pleasant, even a heartwarming and humorous story about the way life knocks us down and asks if we're able to pick ourselves up, is crippled by a screenplay that sets itself up to fail.

Buttons are pushed, emotions manipulated.

It cannot be denied that Jay Kelly is interested in exploring the human condition through the lens of fame and fatherhood, but the romantic, sentimental, and saccharine tones come with a risk.

The film is at its strongest when it's exploring the nature of manipulation and who, exactly, is manipulating whom.

Extraordinarily exciting and often disturbing PG-rated stuff.

Joe Johnston directs the action scenes (is there anything else?) with professional efficiency.

The garments are liberating, positioning the wearer as subject, not object of a gaze that evaluates the body.

Displays an artistry all of its own, quite unlike the thrown-together 'qualities' of your typical behind-the-scenes extra.

The film is at its best when it is portraying conflicted emotions - as old love underlies fresh acrimony.

Surrounding, supporting, and undermining the central love story, Paul Thomas Anderson paints unforgettable scenes that should be enjoyed in a rare 70mm projection.

The script is tight, the gags nurtured, the performances disciplined.

Director Joe Johnston and scriptwriter Lewis Colick have taken no liberties with the text and yet considerably weakened it.

The film is like a work of art that exists outside movements and influence, perfectly formed.

It is comforting to keep in mind that the devil cannot cross your threshold without an invitation.

This is a film of boundaries and barriers and attempts to overcome them.

It's that old magic again.

The film is, necessarily, shocking but Fox handles what must have been difficult emotional material for her in a cool and responsible way that makes the message she delivers all the more devastating.

Witherspoon completely inhabits the role.

A thoughtful but dreary examination of narcissism, disconnection and emotional dishonesty.

The meandering pace can get tedious at times, but cinematically it's a masterpiece.

One of the rare chick flicks that doesn’t appear to hate women, Year Of The Dog contains its essentially sappy narrative within a membrane of stabbing humor and ingenious reaction shots.