Search: Starring Richard Gere

Richard Gere is getting better with age. The lived-in look suits him and he holds this film tight.

The script is weak, relying heavily on travelogue-style scenes of Earhart’s flights, passages from her diaries and newsreel footage and headlines.

Richard Gere is exceptional.

Has a brooding and moody power that makes up for what it lacks in originality.

Screenwriter Bill Condon and director Rob Marshall have retained the spirit of the original.

Hallström successfully captures the style of the Seventies, aided by a breezy original score by Carter Burwell. He also shows us the dark undercurrents of the period.

A beautifully shot, brilliantly acted incoherent mess, ranking up there with David Lynch’s Inland Empire as one of the most inscrutable films of the year.

Bruce is always one step ahead, which keeps tension levels low.

The director Mark Pellington uses infuriating camera tricks - out-of-focus slow motion, etc - and a deeply unsubtle musical score to heighten the suspense.

Well aimed at its target audience.

Cedar aims for emotional truth through visceral recognition and he succeeds in feeding our desire to understand what makes humans do the things we do.

Simply put, the viewer is constantly tempted to attribute the character’s old man’s ramblings both to the author of the source novel and to the filmmaker adapting it.

Compared to modern American rom-coms, Pretty Woman has integrity, style and restraint. As a result, it feels in a different class.

The charm levels are high, the reality levels too low to register.

Retaining the waspish asides of the first movie but able to bring much more fragility to the fore, Smith effortlessly exposes a contradictory combination of fear and bravery that many older people will find familiar.

The film's tameness is undoubtedly its downfall.

Gere, despite his image both off and on screen, gives a flawless performance.

The photography is sumptuous, the settings perfect, the foreplay sensual.