Search: Starring Robert Downey Jr

Save your grey matter for coordinating the movement of your hand to your mouth, or your jaw to the sticky cinema floor.

Directors Joe and Anthony Russo use the length to explore more than one significant theme in depth and to shift tone markedly from hour to hour.

Infinity War is a clearing of the decks: opportunity for new characters and plots to emerge; opportunity too for some characters to move on.

The sense of a society eating itself alive on a gangsta myth is very strong.

Yelchin is a charismatic and believable anti-hero, smart but insecure and neither a walking wisecrack-machine nor a stereotypical ‘mixed-up kid’.

As if it's not bad enough that Chef is marinated in sticky sentiment, Favreau's occasional attempts to sprinkle in heavy-handed drama make for a stodgy mix.

The odyssey of Downey and Galifianakis is composed of far too many sharp edges and far too little warmth.

Antonioni's film is the last of the three here, and is arguably the weakest, which is something of a disappointment because the disciples seem to have overshadowed the leader.

An intriguing and genuinely inventive piece of cinema of the sort which doesn't come along very often.

In the end, the story twists itself stupid.

Good Night, And Good Luck proves that it is still possible in the cinema, if not in television, to inform without being boring and entertain without condescending.

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

What rescues A Guide To Recognizing Your Saints from bland conventionality is Montiel's bravura approach to direction.

Big, dumb, explosive and, most importantly, fun.

Anyone who enjoyed the first Iron Man will love this, but if they expected something better then they will be disappointed.

Downey is juicy, Bening is brave, the rest are out to lunch.

Things do explode. Lots of things. The difference between this and the previous outing is that we care why they're exploding and about the people who are standing next to them when they do.

The film covers all the bases and yet fails to hit a home run

Usually with a comedy you're lucky to get one genuine laugh-out-loud moment. Kiss Kiss, Bang Bang has at least half a dozen.

Though Barrymore isn’t terrible she pales in comparison to Bana’s raw presence and Duvall’s subtle talent.

There is the air of a dysfunctional family agreeing to get together for Auntie Sheila’s wedding.

The film is gratuitous and gross, treating the audience as cretins.

God might play dice, but Nolan is a watchmaker.

Foxx gives a vivid and incredibly moving portrayal of this troubled genius.

It's difficult to imagine any fan of Dick's failing to adore this film; but as it retains the genius of his work, so it retains the flaws, and this could be a big problem for some other viewers.

A more action-led and contemporary take to satisfy modern audiences, with a hero who's as much a swashbuckler as he is a stuffy intellectual.

Released for the Christmas audience, this film does have a touch of the pantomime about it.

This screenplay, twisted out of shape to fit the demands of Hollywood, is a postumous reminder of Potter's unique talents.

The balance between the individual and the bigger picture is perhaps the greatest strength of Homecoming.

Sadly, despite plenty of obvious effort and passion, this film is not as hilarious as the early clips suggested.

There is a suprise twist at the end, which is always nice, and the actors are made to work for their salaries.

The most intelligent American movie since The Ice Storm to deal with the dissolution of promise, the death of ideals and how creative passion is a form of insanity.

If you're a fan of tense crime thrillers full of scares and mystery, then it may not be for you - but it's certainly about you.