Search: Starring Paul Dano

One of this year's must-see films, this is not simply a worthy tribute of a subject too often ignored by Hollywood; it's also a remarkable piece of cinema in its own right.

So overloaded with oddball characters that it never finds an even keel.

The trademark Spielberg visual flair is there from the outset and keeps this film interesting at times when the narrative is moving slowly, or when it lapses into melodrama.

Despite all the blood on screen, Fast Food Nation is a strangely anaemic movie.

It took me a while to warm to this film...But as Yong Kim explores her characters a more nuanced, rewarding movie emerges.

Deschanel is a very capable actress who has been crying out for the right script, but this isn't it.

The film's confused attitude towards pornography is one of the things that lets it down.

Apart from Cox giving it large, there is nothing to this film except sentimentality in disguise.

The degree to which this film is unsettling is testimony to the strength of the acting and direction.

It all feels too professional, too clean, too choreographed.

The film is intelligent and honest, without being, in any way, entertaining.

Writer Michael Arndt has cleverly captured the bribery and corruption which lie at the heart of most families.

Pohland - working with an impressive script by Oren Moverman and Michael A Lerner - manages to orchestrate a musical path between the double storyline that finds unity through the creative process.

Along with her eye for composition, Reichardt also deserves praise for the focus on the smaller period details.

Bong keeps it all on the move with immense visual flair, innumerable chases and excellent effects.

Prisoners, surprisingly for a film that lasts 153 minutes, holds you captive for the entire runtime.

While the lo-fi production design on the spaceship - with its man-made webbing and items from food tins to tools strapped down left right and centre - is absorbing in its detail, there's only so long it can distract you from the film's bloated running time.

The concept is good, but there are so many holes below the plotline, it sinks.

A loving and gently funny take on one of the defining moments of America’s counter-culture era.

Anderson deals in originality. That is his currency. Don’t expect anything to resemble something you might have seen before.

Dano has chosen to use the same flat vocal expression throughout, a technique well suited to satire which might have worked if only the rest of the film had been a bit more lively.

The trappings and style more than make up for any lack of substance.