Search: Starring Penelope Cruz

There is a solid certainty amongst its crosses and doubles and that's that it isn't very good.

Far from dull, not as camp as you might expect, emotionally at a high pitch, expertly directed and nudgingly naughty.

The actor Billy Bob Thornton directs with the sensitivity of a cowpoke.

La Bola Negra was an unfinished work in a life cut short but the film named (variously) for it is extension and tribute and triumph.

For all its quality, and there's plenty, it doesn't quite feel a thing complete. Its characters are disobedient, but their film is in part disordered.

There is a violence here, a passion, all beautifully shot, all haunting.

Nicolas Cage plays against type, retaining his movie star persona, which is not the same as being convincing in the role of a man who lives for opera.

The film neatly encapsulates the frustrations provided by its director: talent is displayed and interest grabbed, but in the end there’s only mild dissatisfaction and a sense of untapped potential.

While Farhadi certainly knows how to spin a web of intrigue, deceit and suspicion, the narrative has a tendency to leap from strand to strand, often leaving the audience stumbling in its wake.

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

The car racing scenes are the best in the history of cinema.

It's big, it's flashy, it delivers on thrills, and it's almost completely character-free.

Flawed, but with enough interest to suggest Jake Paltrow may be one to keep an eye out for in future.

Berry is watchable, as always, but isn't exerted, while Cruz and Downey are wasted in small bit parts.

The characters are thinly drawn.

The sexual and gender politics that course through Almodovar's best work are in evidence here but there's a distinct lack of focus, leaving the film a somewhat forced flight of fancy.

Wilde's direction is assured, there's some gorgeous framing and frequent Rogen collaborator Adam Newport-Berra's camera makes the most of what's in front of it.

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.

It reminds me of a series of auditions where actresses, lighting experts, choreographers and so on, all demonstrate their impeccable skills. What is totally lacking is any semblance of a film upon which to apply them.

These are easy targets although there’s a lot of enjoyment to be hand in seeing them hit so accurately.

The audacity of Open Your Eyes matches its imagination.

A genuinely entertaining outing for the series, managing to generate both novelty and surprise while preserving all the best features of the preceding pictures.

The tone is both bitter and sweet.

Milena Smit is a relative newcomer. This is only her second feature and she has real presence.

Push the plot too hard and it collapses. Best to sit back and do what you do with James Bond. If nothing else, the locations are breathtaking.

Confusion is the name of what stops being a game because after the first hour it's no fun any more.

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.

A screwball comedy with soul, drama and even a song.