Search: Starring Oliver Platt

Never fear, the requisite monuments duly get what's coming to them.

Beatty cannot decide whether to exaggerate wacky wrinkliness, or press for prizes in the turkey neck beauty contest.

Go, to enjoy the expensive shots of Venice and its spectacular interiors and the camped up performances from Irons, Ledger and Platt.

As if it's not bad enough that Chef is marinated in sticky sentiment, Favreau's occasional attempts to sprinkle in heavy-handed drama make for a stodgy mix.

Scriptwriters Nat Mauldin and Larry Levin lack vision to lift the movie out of TV sitcomland.

It's highly intense, superbly photographed and expertly edited entertainment.

It’s Frank Langella’s towering interpretation of Nixon that eventually makes every other character real.

Marshall Herskovitz, who made Legends Of The Fall into a remedy for insomnia, directs from the sitting position.

Only Firth's performance gives it air. The plot lacks surprise and the humour has been planted in advance.

Probably the most romantic picture Lyne has attempted.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

This is hokum with teeth.

It ranks in the higher echelons of the second division for the quality of its animation and vocal support

Interesting ideas lurk, tantalisingly, underneath the romcom formula and yet every brave move Zwick and his co-writers make is countered by something weak and formulaic, as if in apology.

Griffiths enjoys showing us the particulars of Ellie's life and it doesn't feel like exposition though it might look a little ersatz.

For sheer style, the film is electric. Demme is incapable of being boring and consistently comes up with surprises.

It wouldn't matter so much if Holofcener was seeking to undercut some of this privilege but what the film appears to be saying is that it's okay to be materialistic, as long as you occasionally wring your hands about it first.

As a heartfelt tribute to his mother, writer/director Peter Hedges's film is one of those well-intentioned pieces you feel awkward about criticising. But, like a sign that pleads 'please don't kick me', the temptation proves impossible to resist.

Every time we are afforded a glimpse of the outrageous figure, the film crackles with energy.

It's hard to imagine that this was the best version that could be salvaged from the editing room.

The film is neither as bland, nor as silly as you would suppose.

It's not only the best X-Men film yet, it's a fantastic piece of cinema in its own right.

This might have seemed like a barrel of laughs but it's actually just a barrel of shit.