Search: Starring Mark Ruffalo

The sheer predictability of the plot means it doesn't really stand up to the scrutiny of anyone older than 15.

Save your grey matter for coordinating the movement of your hand to your mouth, or your jaw to the sticky cinema floor.

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

A bold piece of film-making that's daring, dramatic and different - even if it won't be to everyone's taste.

For some viewers the build up of devious plot twists may be a little overwrought but it is nevertheless an effective way of skewering the cynical viewer.

Even the ending, which otherwise would be dismissed as inconclusive, feels valid and true, emphasising yet again the magic that is Mann.

Painfully self-conscious, trying ultra hard to be wacky and repeatedly missing the mark.

Haynes is at least as interested in the cultural issues at play here and the psychological impact of living in such an unbalanced world.

Bennett Miller has secured his place at the forefront of directors who excel at character studies.

Ruffalo is astonishing. He makes Bradley Cooper in Silver Linings Playbook look easy.

As raw as an open wound.

A love story that, despite my sincerest cynicism, allowed me to invest for the slender 90-minute runtime.

A whip-smart, often very funny family drama, presenting observations on domestic life that are all too uncomfortably recognisable.

For all its flaws and soppy side issues... the film certainly has its moments.

There is the air of a dysfunctional family agreeing to get together for Auntie Sheila’s wedding.

Divorced by many years from the context of its original conception, the film might easily be viewed as just another rites-of-passage indie – albeit an unusually multi-faceted one.

The performances break your heart, not because the subject matter has a built in Love Story factor, but because they are so good.

It's just clever enough to keep you guessing.

Any attempt to explain the detailed confusion of the storyline will cause brain damage.

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

Reservation Road is really only ever going from A to B and, despite the offer of some intriguing ideas, never moves far from its initial premise.

Aniston... spends much of the picture grimacing and stroking her stomach, rather as if she is about to be ill. Perhaps this is because she realised she was now contractually obligated to finish the picture.

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.

I had to step aside to try to enjoy it as a thing itself and I'm not convinced I succeeded.

Spotlight does not fall into the trap of explanatory flashbacks. We do not need to see the protagonists' past because we can tell so much from what they are wearing.

This really is the funniest, campest mainstream superhero film I can remember since the Adam West incarnation of Batman.

John Woo specialises in the spectacle of violent death and, after a while, this becomes monotonous.

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

It avoids sentimentality and explores layers of damage beneath the surface of family relations.

If you're a fan of tense crime thrillers full of scares and mystery, then it may not be for you - but it's certainly about you.