Search: Starring Nicole Kidman

Aquaman is a far from bad way to pass a couple of hours at the cinema

What I most noted the return of was not kings but pacing issues.

Australia undercuts its cinematic insecurities with heart, soul and imagination.

Halina Reijn's film is a rewarding piece of work, in no small part because of how it challenges its subjects and its audience.

Not only does she get the tone of Ball right, Kidman also captures the comedy star's forthright energy, an essential fearlessness and truthfulness about herself that Sorkin also evidently admires.

Bombshell is a finely crafted film which benefits from one of the best acting ensembles of the year.

This is, as a whole, a finely crafted piece of cinema which handles its explosive subject with great delicacy.

Who do you trust?

Coppola’s desire for a new “soft” approach seems to have emasculated the original material while failing to engross our senses with her storytelling techniques.

A disappointing, mundane psychological drama.

Kidman continues to amaze.

Phillip Noyce directs a tense thriller from the skeleton of old ideas.

It's essentially a character study - the trouble is that there's not much character there.

Nicole Kidman, as the mysterious fugitive Grace, is luminous and breathtaking, capable of evoking strong emotions from the basis of an enigmatic outline.

You are never sure what is actually happening, what is real and what is pretending to be real.

An intriguing and genuinely inventive piece of cinema of the sort which doesn't come along very often.

Easily the most imaginative, energetic and engaging children's film to hit cinemas this Christmas.

The story moves like treacle, with the action bogged down and emotions bottled up.

Kidman is 47. She's an actress playing an actress, not a Catholic girl from Philly with all the enthusiasm of youth

The originality of Happy Feet is a genuine surprise. Whether the script will hold the attention of the under-nines is less easy to judge.

It would be difficult to overestimate the quality of this film.

The energy is electric

The twisted story spans decades, but a series of consistently strong performances give the plot the cohesion it needs.

Run, stay awake, run harder, stay awa…zz…longer until an antidote can be found.

Kidman has the sensitivity of a fawn and the tenacity of a dingo.

Few documentaries can ever have been put together with the same level of meticulous care as this one, clearly the product of exhaustive research.

Lanthimos confirms his reputation as one of contemporary cinema’s most original and unsettling directors

There’s really not a great deal to this documentary - it is flimsy in build. But then so is fashion.

To its great merit, the film does not go for romanticizing or exploiting this child's life-threatening dilemma and the impossibly difficult decision-making process can be felt throughout.

Margot ought to be a plum rôle, but Kidman withers it to a prune.

It reminds me of a series of auditions where actresses, lighting experts, choreographers and so on, all demonstrate their impeccable skills. What is totally lacking is any semblance of a film upon which to apply them.

You genuinely feel how much his characters have faith in their gods and their folk tales as an extension of their everyday lives

The less you see, the more you believe. Chilean born writer/director Alejandro Amenabar, who is still in his twenties, knows this.

Paddington is irresistible, funny and smartly constructed with a disarmingly big heart.

The references are messy, the gestures grand.

The ladies act their socks off. To no avail. The plot saws itself in half... forever.

The Prom's heart is in the right place but its beat never quite finds a strong rhythm.

The acting is good - particularly from Eckhart and Teller - but director John Cameron Mitchell never quite finds a way to reach beyond the boundaries of its original stage work.

It is a story of courage, redemption and forgiveness. And it's true

Featuring an up to scratch all-star cast, it is Close who really shines, with a cracking quirky little performance, again demonstrating her range.

The heightened sense of India's reality is mimicked by Park's style and Miller's creations, who are pushed into the realm of melodrama and perilously close to caricature in pursuit of gothic thrills.

Kidman hasn't turned in a performance like this for some years.

Whilst it’s never intrusive, the film makes room for the personal and, perhaps more importantly, for Herzog to meander, interlinking diverse ideas in his inimitable way.