Search: Starring Philip Seymour Hoffman

No filmmaker since Woody Allen has loved New York like this, but Lee is prepared to show it in all its stark ugliness.

Captures the seriousness and the sweetness perfectly

Nobody plays lazy like Jeff Bridges. You could say he was born to it. Or rather, he's such a good actor he makes it look as natural as an unmade bed.

The way the plot manipulates every worst case scenario is fiendishly clever. Seldom has an ensemble cast meshed so effectively.

Feeling like watered-down Curtis, the jokes frequently fall flat and you keep waiting for the big laughs that we know he can deliver.

The finest performance of Hanks' career.

One of this year's must-see films.

The acting alone makes Flawless essential. Schumacher's script is a bonus.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

Todd Solondz's investigation into the suburban psyche is so disturbing, it's funny, although when humour slides into the realms of nightmare, laughs congeal in the throat.

As a director, he captures the seedy glamour of the gambling world perfectly and as a writer he propels a taut, no-frills story along with a screenplay that’s literate and believable.

Jennifer Lawrence's expressions stretch from worried to confused

The plot stutters into absurdity

It is as though Glaudini expects character tics to substitute for plot development.

Rebecca Chaiklin and Donovan Leitch's documentary is a sobering reminder of what it feels like to be disenfranchised, young, poor and mute in what many commentators call 'a police state'.

Once it has established itself it unfolds with an almost metronomic inevitability, but for all that, for all that, it still satisfies.

The performances are stunningly good and Gordy Hoffman's script avoids sentimentality, remaining economic and observant.

Sentimentality is already dead. Irony lives! And coincidence is king.

Exquisite attention to detail that creates not only a complex portrait of each of the main characters but also a vivid sense of place.

Surrounding, supporting, and undermining the central love story, Paul Thomas Anderson paints unforgettable scenes that should be enjoyed in a rare 70mm projection.

Abrams combines kinetic action sequences with internal logic-fuelled storytelling to give us an impossible mission head, shoulders and a rabbit's foot above the previous two instalments.

While the film does rattle through these pillars of the underdog sports movie narrative, it does so with an element of class, a helping of humour and a knowing wink.

The end result may look good but it never feels distinctive despite the wealth of talent involved in front of and behind the camera.

There is something about Williams that encourages compassion and commitment. Patch Adams may cut corners, simplify situations, sentimentalise even, but its heart is strong.

There are similarities to the work of David Lynch and Jocelyn Moorhouse, but this is something entirely fresh.

Norton holds the film together. He is such an unselfconscious, natural actor. Fiennes gives it welly.

A disturbingly accurate portrayal of the New York intelligentsia.

An ensemble comedy, with captivating performances and a wickedly funny script.

Matt Damon's performance is deliciously low-key.