Search: Starring Natalie Portman

Garland takes us into a world as beautiful as it is alien, a dazzling cinematic landscape that deserves to be seen on the big screen.

It’s the sort of sweet-natured fable that makes adults nostalgic for childhood, but both the near and far futures it presents are, to children themselves, already likely to seem out of date.

As elegant and overblown as ballet itself.

Director Mike Nichols' most powerful tour-de-force since the classic Who's Afraid of Virginia Woolf?

Chaotic, funny, beautifully shot and performed with a childlike deadpan.

The issues presented here go far beyond the question of whether or not it's fair to animals to use them as a food source.

Portman captures something so rare that it defies description.

Forman loses direction and the two halves of the film remain indifferent to each other. Portman overacts to a degree that simplifies madness to a stereotype.

An odd mixture of the striking and the squandered.

Mann’s film is a stone-cold masterpiece.

Colours and style ooze from the screen.

Westerns require action and pace not brooding silences and broken dreams

This is a film full of cultivated emptiness.

Malick and his cinematographer Emmanuel Lubezki, if nothing else, deliver stunningly beautiful vistas and backdrops for his narratives and characters, yet like the characters, there seems to be something empty at its core.

Rarely has the title of a film summed it up so well - or so completely.

The balance held between creepiness and fascination, sheer fun and lingering disturbance is held throughout.

We're told that Natalie Portman's character doesn't believe in herself. The sad truth is that neither does this film.

Aesthetically this film is an absolute joy to watch. Somehow though, my satisfaction with the story didn’t match my sensory pleasure.

Portraying a woman of such character is no easy task, and it's unfortunate that the task has fallen to Natalie Portman.

It is like nibbling for nearly two hours in the kitchens of the best chefs. At the end we are exhausted and hungry.

Some films need to be watched alone. This is one of them.

The dialogue is carved in marble, as if the power of speech never progressed beyond Ronald Reagan and the art of the autocue.

Where is the magic?

Revenge Of The Sith is a reminder of what made the original trilogy so good; character driven stories, along with a pot-boiling plot keeping things in check.

Thor: The Dark World is nimble of step in the comedy department but as heavy as a hammer to the chest when it comes to exposition.

The ideas are so shamelessly out-there and imaginatively employed that it's hard not to get caught up in it all.

A merchandising rather than mythologising opportunity..

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

In making V a symbol of vengeance, valiance and victory, V For Vendetta does for a letter of the alphabet what Kill Bill did for the colour yellow.

The oozy sentiment pollutes the integrity of Natalie Portman's performance.

Like spending two hours with a six year old who has just learned a new naughty word.