Search: Starring Thomas Haden Church

The very worst thing about this film is its message.

What is astounding, is the restraint shown by director Gary Winick - nothing takes us from the quiet rural life of America in the Forties.

The absurdity of an Irish character trapped within the structures of a US sitcom generates a surreal humour of its own.

Emma Stone really holds the film together, an immensely likable lead even when things get a little too indulgent.

It has all the hallmarks of a production destined for a television mini-series with apparently three other chapters promised by Costner.

There is plenty of toilet humour for the kids but adults will struggle to raise a smile.

Action moves at a pleasing zip with an early fight scene setting the tone with spectacle but no wall-of-noise aggression.

Friedkin has fun seeing how far he can push the envelope with swift, bloody violence and frequent full-frontal female nudity.

Griffiths enjoys showing us the particulars of Ellie's life and it doesn't feel like exposition though it might look a little ersatz.

It hits all the right notes. It's cute, it's funny and the creatures and the backdrops are all amazing.

James L Brooks has nurtured a very convincing ensemble piece, with some delicately pitched performances.

The writing is consistently intelligent and even if the moral boundaries are breached with careless abandon, there is no feeling of irresponsibility towards the concept of wild oats.

Anyone who believes there’s also a place in cinema for old-fashioned stuff like a good script, top-notch acting and the occasional attempt to ask (if not always answer) some of the Big Questions should make a bee-line.

Whooshing between buildings at high speed over and over again feels like an overdose of Ritalin. The three-way baddie climax is nauseating, unexciting and full of contrivances.

The absurdly marvellous timing Haden Church has with Labrèche when they discuss glass eyes or the future, makes Whitewash also wonderfully, desperately funny.