Search: Starring Monica Bellucci

Distinctly old-fashioned in style as well as substance.

Burton pieces together the components with a demonic rigour that belies its sequel status.

Coppola's aesthetic is all about excess and lacks the self awareness that let Hammer Horror films get away with this.

It bites off far more than it can chew, but the result is still interesting and, in places, gripping viewing.

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

The humour bites your face. The popvid camera tricks are tempered by a storyline that demands attention.

For all its confrontational posturing, there are moments when the film fails to take the leap into the abyss.

Malena is no more real than a poster.

Given that one of the central tenets of Ben Hania's latest film is a debate about form... it's a joy that this extends to almost every frame of the film, many of which are so carefully composed they could hang in a gallery themselves.

The second in the trilogy is less innovative and more windy in the speechifying department.

The Matrix Trilogy began with such energy and originality... now it seems more like an expensive video game.

The idea of casting a 55-year-old actress as a succubus feels like one whose time has come and Bellucci is more than up to the job.

The lavish decoration, aesthetically pleasing and beautifully photographed, exposes the artificiality of the storyline.

Taut and visceral filmmaking at its most intense.

Wry, funny and emotionally-charged.

A violent showdown where style (in its purest form) outshoots substance from the very first draw.

Disney always has a tendency to err on the side of caution, choosing the established and familiar route over more crazy - and, let's face it, fun - ideas every time.

The ultimate catch is that Spectre is no longer the villainous outsider. Their badness is corporate: its core, global surveillance and information technology.

What action exists is exciting.

Me hate it.

As well as being politically to the right of Ghengis Khan, this is an ugly, racially disturbing, violent and inappropriate film.

Stephen Hopkins can't leave the arty flashbacks alone, destroying any semblance of tension.

Wisdom is quiet and the future a mystery