Search: Starring Patricia Clarkson

Green's script is filled with understanding and honest reflection.

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

The setting may be current and sound edgy on paper but beneath the zeitgeist veneer, the mainstream thriller formula they employ is as familiar as your slippers.

Emma Stone really holds the film together, an immensely likable lead even when things get a little too indulgent.

Elegy is well acted by both the lead and the supporting actors, which helps in carrying the emotional load of the film forward.

Moore's performance is heart-stoppingly wonderful.

It's the sort of film that couples should enjoy equally; there's serious eye candy whatever your preference, and the film's energy and good humour is infectious.

The Friday Night With Jonathan Ross chat show is Pulitzer Prize material by comparison.

Good Night, And Good Luck proves that it is still possible in the cinema, if not in television, to inform without being boring and entertain without condescending.

Cholodenko has a gift for saying little and implying much.

It is carefully crafted, the work of a film-maker who is very in charge of what he is doing.

Every performance in it is perfect.

Sarah Kernochan's screenplay is precise and doesn't shy away from the real-life absurdities we all encounter.

The feel of this film is sumptuous - convincingly recreated mid-century sets, an evocative soundtrack, gorgeous gowns for the women and smart suits for the guys.

The plot is bonkers, but that's what you expect from this kind of thing

Fear can't touch you if you don't care

Anyone who has cared for a loved one whose mind is disintegrating will recognise some of these feelings.

The crime is only half the reason why Murder One becomes addictive.

Catherine Zeta Jones never manages to engage our sympathy as someone mourning her sister or truly caring for her niece.

Disbelief is suspended by a thread so fine it is in danger of snapping almost constantly.

If you see one portrayal of a screwed up female detective with a drink problem this year, make it this one.

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.

There's a comedy of misunderstanding underlying all this as well as more overt comedy as the friends banter with one another and are forced to deal with some of the consequences of their hypocrisy.

It lacks the energy and precision vital to any journalistic investigation, and especially to one taking place under this kind of pressure.

Even when one has a rough idea of where this mystery thriller is headed, the devil is in the detail, and each turn of the screw is handled with the sort of deft craftsmanship that becomes a pleasure unto itself.

A tender, moving film, with no distractions.

The best movie this wonderful writer/director has made in a long time; funny, sharp, perfectly paced and rather gorgeously shot, with a quartet of cracking parts for excellent actors placed firmly at its centre.

Does not live up to its promise, but is worthy of encouragement, nevertheless.

While you may well have heard this sort of thing before, the familiarity of the humour makes it all the more lovable.