Search: Starring Stanley Tucci

The movie is fun, without being furious.

You see the money on the screen, which is good, but not the love

It feels like you're watching the trailer for the much better movie you wish they'd made.

Intelligent, disciplined, elegant and closely guarded in matters of privacy

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

As an old-fashioned disaster movie, with state-of-the-art effects and a script that floats, The Core definitely does the business.

Made wondrous by an inventive script.

Despite the costumes being ab fab, darling, the plot's no blazing trendsetter.

What made the original feel like a breath of fresh air makes the sequel feel like just another entry in a crowded field of contemporary institutional satires

Ross avoids the hyperbole of gore and mayhem to keep the emotions of what is happening so near the bone it hurts.

It's easy to forgive the fact that nothing's happening when it's not happening around Jennifer Lawrence.

Jennifer Lawrence's expressions stretch from worried to confused

The plot stutters into absurdity

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.

Schizophrenic in its approach and vicious in its intent.

Too niche to reach

While both McGregor and Diaz are watchable enough as a likeable loser and a redemptive bitch, there's never any sense that they're 'made for each other'.

If Jackson was hoping for ethereal over corny, he’s failed decisively

It's the pace of the film that wins the day.

Richardson overacts outrageously and Bob Hoskins, as the hotel's butler-in-chief, is embarrassingly obsequious.

Chandor makes good use of his acting assets and there's no doubt that he knows how to direct, but ultimately, the dullness of the script is just a little too toxic.

This is one of those films where you wait for someone to fall off a horse.

There's nothing stale, nor been-there about this animated pooch's fizzy brainstorms

The crime is only half the reason why Murder One becomes addictive.

You're going to want to break out your crime cliche bingo card early, lest you miss the full house.

The action sequences are reasonably handled - although shelling out for the 3D unecessary - but there's nothing here that most kids won't have seen before and it lacks the emotional bite of franchises such as Harry Potter.

Heineman’s docu-style fits perfectly into the look and sound of things.

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.

Sam Mendes creates a mood of menace by avoiding obligatory violence.

The film's tameness is undoubtedly its downfall.

The humour is acerbic.

The film may be a dog trainer's day out but as entertainment it sucks on wood

Spotlight does not fall into the trap of explanatory flashbacks. We do not need to see the protagonists' past because we can tell so much from what they are wearing.

With eloquent, understated performances from both leads and a willingness to take its time, Supernova explores not merely the issues they face but the life they share.

I found myself transported back to a time when I truly believed there was every possibility that I would grow up to be a princess.

The reality of enduring this 165-minute car-wreck is depressing in the extreme.

Spielberg's direction is delicate, but very relaxed.

It’s the cinematic equivalent of Morris dancing: there’s lots going on, it’s entertaining enough – but you’re not entirely sure what the point is.