Search: Starring Matt Damon

There's a lot of good work here, decent performances from Blunt, Damon and Mackie, some gorgeous locations and some neat production design, but it doesn't quite work.

With another cast this would be an also ran, but Bateman, Tucker, Damon and Davis all put their backs into it.

It is quite something to witness Douglas and Damon embrace the characters quite so authentically.

[Damon] knows the moves, which are implemented with ruthless efficiency.

Performances by the entire cast are flawless. Paul Greengrass directs with energy and precision.

This is about car/motorbike chases, ruthless corruption at the highest level, a focused defense of one man’s pursuit of truth and ... the hint of romance.

The true fault lies with the script, which brings no life to the real, or indeed fantasy, characters.

Smith crafts a movie that is more polished and - arguably - more mature than his previous efforts.

After a compelling start and a long, immersive second act, sadly Contagion starts to peter out towards the end.

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

Why should a story about two angels who have been hanging around Wisconsin for aeons, bored rigid, and wanting to go home, be understandable?

Alexander Payne's latest, unclassifiable film gallivants with us through a number of different worlds that all seem familiar, yet perplexing.

It's DoA meets The Wizard Of Oz with Matt Damon as an irradiated Dorothy.

So badly produced that it fails to generate any reaction at all.

It is only after leaving the cinema that questions come bursting to the surface, not that they undermine Dr Niro’s magnificent achievement behind the camera

The end product might not feature too many surprises, but the dialogue is occasionally dazzling and leads to many poignant moments.

The film has a lot of energy and plenty of appealing characters but it's poorly paced with too many subplots.

While Hereafter is at times thought-provoking in its own way, it lacks the sense of friction and urgency that have made his previous works such must-watch masterpieces.

Soderbergh has great fun playing with the conventions of the conspiracy thriller.

Charles Ferguson's documentary - unlike the subject matter he is broaching - makes a virtue of economy.

Matt Damon gives one of the best performances of his career.

The powerfully cathartic ending of The Bourne Ultimatum is a long shadow to get out of, and this film never quite manages it.

Everyone involved here has done better elsewhere.

Damon has a problem playing down-and-outs. He's so clean cut, three days' growth doesn't fool anyone.

The Martian’s real strength lies in its good-natured attitude.

The film avoids the easy route to Clicheville and stays on the dark side of the road.

The story of Stanislas Petrov is one that needs to be told and The Man Who Saved The World is a near perfect telling of it.

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 film becomes a mixture of Dad's Army and The Cockleshell Heroes (without the cockleshells).

Twelve is the new 11 and mediocre is the new good.

The plot may be off the credibility charts, but while you're in it you're loving it.

If ever a film seemed aimed squarely at a family matinee audience, this is it.

This retelling is the one you seek.

God might play dice, but Nolan is a watchmaker.

At its core, this is a character study, with the contradictory American character summed up in one man.

Not typical Grisham, it is closer to autobiography than fiction.

The film has an authenticity that cuts deep.

Spielberg is a consummate filmmaker, consistently surpassing himself, stretching his imaginative and technical abilities beyond what he knows, or has done before.

There’s more going on than just prejudice, as the well-worn themes of friendship and loyalty are given air to breathe.

Six-year-olds will love it. Twelve-year-olds will scorn.

It progresses in the same sort of manner as leading man Damon in that it's big and bulky, slow and purposeful but somehow, despite this, quite compelling.

It's unclear whether we're supposed to be laughing at, or with, the protagonists - a fatal mistake.

An action-packed, critically intelligent thriller...the effect is both breathtaking and harrowing.

Matt Damon's performance is deliciously low-key.

Where Roberts' screenplay opted at times for easy sentiment the Coens' writing is not only wittier but also as chilly as a late Oklahoma autumn.

The Zero Theorem is a messy mélange of broad pratfalls, challenged idealism, dark satire, and expansive, indeed cosmic allegory - but it also .cannot escape being seen as a kind of Brazil vers. 2.0.