Search: Starring Paul Giamatti

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.

It just all feels like too much of what we expect and not enough we haven't seen before.

The Ant Bully is fine. It's a bit moralizing, but I guess its message is a good one.

Like the advent calendar Rene gives to Michi to count down the days to Christmas, the film holds a surprising number of sweet treats, despite its austere veneer.

The performances are finely nuanced, capturing the complexities of real life individuals and avoiding caricature.

More often than not, when emotion is called for, Michael Konyves lays on the scripting far too thick.

The story won't win prizes, but what does that matter when you're having fun?

The story doesn't matter. You know it already.

Berg's dilemma requires him to try and solve logical and ethical puzzles, and cannot be alleviated through the easy process of having him find Heisenberg likeable.

[Braddock's] struggle makes for great viewing and a terrific story.

With tongue firmly in cheek Cold Souls thrives off the irony and contradictions that plague its protagonist.

Clever thrillers that flirt with film noir are always welcome, but this is too smart for its own good.

While Pattinson is to be commended for taking on such an un-commercial vehicle - to which he definitely does no disservice - it all seems a bit too calculated, more posturing than penetrating.

Eisenberg’s obvious love of amateur dramatics provides The Debut with a foundation that feels akin to a warm hug.

The plot swithers this way and that.

Needed a more crackling central relationship to keep it interesting.

Fred Claus has a lot of things going for it but struggles because it can't make up its mind what it's trying to be.

If this is just more of the same, is that really such a terrible thing?

An old school slice of comfort and joy for the cold season.

The strength of the film is its ability to suspend disbelief and engage the audience with its mastery of mystery.

For those who've always found Robin Hood yarns a trifle lightweight, this rufty-tufty beer-swilling, limb-lopping examination of King John attempting to quash a rebellion after being forced to sign the Magna Carta is worth a look.

It may sound like a spurious stream-of-consciousness from someone who’s taken too many drugs in their life, but it’s not.

If you don't believe in parallel universes, fairy stories or the power of the puzzle, Story's story will leave you as cold as her skin.

Though the destination of The Last Station holds some interest, much of the journey is far too dull.

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.

There are moments when you feel that this is either a memorial tribute for the family, or a postumous practical joke, as Carrey acts his socks off and the need to honour the cult-of-Andy appears paramount.

It might be light fun, but its bland derivativeness and lack of any cohesive attempt to tackle its own core subject matter will make you want to forget it faster than a disposable diaper.

As a punch-em-up, Paycheck is well done, but nothing we haven't seen before.

Simmons is generally convincing but it's difficult for him to combine this with holding centre stage, especially in scenes alongside Ethan Hawke, who is cast against type as a low rent Tyler Durden and clearly enjoying every minute of it.

It hardly helps having Mark Wahlberg in the lead. As charismatic as seaweed, he creates a new milestone in minimalist acting. It's called not acting.

Somewhere the plot hangs by a thread. All you have to do is find it. But you can't

Robots has a glittering voice cast and astonishing CGI animation and yet is over endowed with too much of this, too much of that and too much of everything.

Cruise is by far the most entertaining thing in Rock Of Ages, and as with all his films, he looks like he is trying exceptionally hard.

The end result, though well-mounted and featuring knock-the-soot-out-of-your-chimney performances from Emma Thompson as Travers and Tom Hanks as the movie mogul, feels more like a Disney theme park version of events than the real story.

A violent showdown where style (in its purest form) outshoots substance from the very first draw.

Despite all the chaos, I've seen more mild peril in an episode of Scooby-Doo - except that, in Scooby-Doo, the female characters have some agency.

Spielberg is a consummate filmmaker, consistently surpassing himself, stretching his imaginative and technical abilities beyond what he knows, or has done before.

The writing is consistently intelligent and even if the moral boundaries are breached with careless abandon, there is no feeling of irresponsibility towards the concept of wild oats.

Solondz's humour remains dark. His dialogue is always brilliant.

They sang it as they saw it and in Compton that was not pretty

The moral of the tale is that everyone has a talent, however improbable. This is lost, alas, amongst the debris of failed farce.

Visually colourful but narratively bland.

Everything about McCarthy's film feels easygoing and economical. His scripting is sharp and laugh-out-loud funny, with relationships and family dynamics establilshed quickly in an unfussy fashion.