Search: Starring Leonardo DiCaprio

The Aviator is a beautiful picture with flawless performances, wonderful cinematography and extravagant mise-en-scene.

The message is less of a warning against perfection's poison, rather a reminder that 'desire is desire wherever you go'.

This is an extremely well made movie, with exacting performances of the highest quality.

There is a healthy streak of cynicism running through Blood Diamond.

It's never dull and always looks good, although the Sixties have become the Fifties - not a hippie, or civil rights marcher in sight

Branagh has none of Allen's flair for comedy.

After messy, overblown mishaps like Gangs Of New York, the maestro of Mean Streets is back. With a vengeance.

We get to witness the birth of a new genre and are confronted with a violent American history that Hollywood fictions have previously not dared to tackle.

We see the pernicious and warped modern US in all its glory, turning common sense and science on its head and it's hilarious.

The acting is ensemble, which means no-one stands out and everyone chips in. Day-Lewis, unrecognisable behind a 'tache wedge, is the most memorable, due to The Butcher being a bigger sicko than anyone else.

The closer Luhrmann stays to the spirit of Fitzgerald and the more he trusts his cast, the better the result.

You will no doubt need to see Inception more than once to appreciate every nuance of Nolan's carefully balanced ambiguities – but, more importantly, you will also want to.

Though he gets relatively little screentime, the underrated Hammer delivers a nuanced performance that forms the film's emotional core.

It is Scorsese at his, one hesitates to say peak, but absolute.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

Tarantino's on good form but there are moments in the middle of the 165-minute marathon where it flags before mustering for its finale.

One detail after another rewards.

Winslet delivers her lines with scalpel-like precision. DiCaprio plays off her with the fire of a young Brando.

Times are tough, women are either chattels or the stuff of magical realist dream sequences and dialogue is frequently cut adrift in favour of animalistic grunts and muscularity.

Even when one has a rough idea of where this mystery thriller is headed, the devil is in the detail, and each turn of the screw is handled with the sort of deft craftsmanship that becomes a pleasure unto itself.

What raises Cameron's creation above costumed action spectacle is the quality of the writing and the chemistry of its juve leads.

This gentle, beautifully made film has an understated sensitivity that runs right through it.

Danes deftly avoids making her character appear at all weak or insipid, instead showing us a young woman of great courage and agency, in spite of how little control Juliet seems to have over her life.

This is how you destroy people's dignity and make them yours, Scorsese seems to say.