Search: Starring Susan Sarandon

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

Sarandon is a beguiling mix of innocence and toughness and Lancaster brings all his charisma and dignity to bear on a role that is in many ways an older version of the handsome but doomed noir heroes he made his name portraying.

So silly only a certified boring person would not enjoy.

This is a film that will be enjoyed most by people who haven't seen many other films.

The performances reflect Robbins' upbeat approach and are as enjoyable as they are inspired.

Sarandon is convincing, endearing, charming and real.

A simple idea delivered so cleverly that it holds your attention from the opening of the storybook right up to its fairytale ending.

A love letter to the resilience of the bereaved.

Intelligent and sophisticated.

Makes no secret about trying to be Chinatown, but surprisingly doesn't come off too badly.

The best thing Susan Sarandon has done for ages.

This is a change of pace for Segel and it allows him to showcase the full breadth of his talent, creating a very full-on character who, beneath his bluster, has a surprising amount of depth.

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'.

Despite the bravery of some of the interviewees, I would have liked more answers.

Light Sleeper doesn't belong in any oeuvre. The feeling is personal, introspective, wounded.

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

It moves at a respectful speed, slower than a teardrop.

In the long standing tradition of MOR liteweight comedy, sentiment oozes through the gaps between testicle crunching and mom devotion

A great way to while away 90 minutes.

Jake Schreier and scriptwriter Christopher Ford go well beyond the initial fun of the robot conceit to craft a thoughtful film musing on both the ageing process and our relationship with technology.

Possibly the best musical ever written.

A hilarious, shocking, and in the end, moving film.

The film's tameness is undoubtedly its downfall.

Offered the galaxy screenwriters and animators can't help themselves. They indulge and then overindulge until nothing makes sense anymore

A serious pile of nonsense.

As the shiny roadsters perform death defying stunts to get to the chequered flag, I defy the greenest carphobe not to feel their pulse racing.

There are some great stories here, and whilst fans will already be familiar with many of them, they include a few surprises.

At first, you think Chris Columbus is going to take the subject seriously, but when Susan Sarandon receives bad news from the cancer clinic, he skids on treacle and is lost.

If this is the new slapstick, bring back the old

The fact that this film still gets people talking, and arguing, nearly 20 years on, is surely an argument for its quality and relevance.

The film suffers from oldness.

Chaotic and fragmented, VHYes initially snares the viewer with simple curiosity value and then, as distinct themes and characters begin to emerge, becomes harder and harder to look away from.

There are loads of characters, tonnes of things going on, and little to no reason to invest.

This intense, yet sidelong glance at a deeply polarising topic might just give new life to a debate that suffers from political hubris set against rather static public opinion.