Search: Starring Olivia Colman

Nick Frost's limited comedic talent cannot stretch to a faux South American dance devil with fire in his heels.

Mullan, as usual, blends his trademark emotional rawness and understatement of gesture to powerful effect.

Scott’s beacon of light is swallowed up by Stone and Beresford’s heavy-handedness.

With Roger Deakins handling the cinematography and making the most of the magical light found on parts of England’s south coast, the film never ceases to be visually absorbing.

Zeller elegantly and scarily fuses dream logic with markers of past trauma.

The dialogue is irreverent and sharp like a raven's claw.

This derivative drama might have worked quite well as a four-part mini Sunday night series for the BBC. As a film, however, it fails on almost every count.

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

Are Bill Murray's fabulous presidential brogues what is worth remembering most, or are some of the statements about gender still valid commentary?

Anyone over the age of 35 will find the whistle-stop, romanticised tour of Thatcher's career offers scarcely any insight, skating over most of the interesting issues.

The film’s initial loose and enjoyable construction gradually drifts towards a drawn-out and repetitive melodramatic conclusion.

The director does achieve some quiet drama - a kiss on a cheek, an attempt at breast feeding - but elsewhere, it feels as though a committee was insisting on moments of 'quirky humour'.

The Kármán Line packs a punch in the emotional stakes thanks to an excellent cast who all invest their characters with warmth and humour.

The film comes into its own because of Gyllenhaal's non-judgemental perspective, even sympathy, for the small suffocations of motherhood.

It's like a suicide. And there's nothing to look at

Mayhem ensues - occasionally too much of it

The façade of a happy picnic shows all the cracks, despite the lovely geese flying overhead.

If Ustinov emphasised the humour of Poirot and Suchet the meticulousness, Branagh manages to bridge the two, while also bringing an unexpected note of soulfulness and melancholy to his performance.

Considerable courage has gone into acquiring this footage.

Mitchell and Webb have been a double act for quite some time and this is apparent in their inspired interplay.

At times puerile and immature, at others witty and smart, Peep Show will have you laughing out loud throughout every episode.

A real return to form, a fully developed story in its own right.

What a shame that those aiming to cash in on the cute mutt's charms with this low-rent film didn't look for a better script.

This is an animated kids' movie in a furrow well ploughed.

Importantly, unlike some shows which make the leap from sound-only to screen, they have taken the opportunity to revisit the sketches and beef them up visually, so that they take on a life in their own right.

In terms of mood, directors Britt Poulton and Dan Madison Savage do a lot with a little, allowing the plot to coil round the characters.

What really stands out in Tyrannosaur, however, are the towering performances.

A curious case of real-life poison pen letters is given an oddly cosy retelling in this well-polished if tonally uneven drama.

Sweet, light, funny and perhaps most merrily, musical.