Search: Starring Timothy Olyphant

David O Russell's latest - a shaggy dog mystery with a deliberate air of penny dreadfuls - could do with more straightforward narrative and fewer screwball convolutions.

The success of this film is in its attention to the sort of small human details that create the boundaries of our day to day worlds, the things we hang onto and use to define normality.

While its action and tone are robust and entertaining, it feels over-familiar, overconfident, and over-long.

Hands the reins to the special effects department, who think its Christmas.

The humour is fast, the car chases hairy, the characters way wicked, the venues seedy, the fun accident prone, the sex tantric and the chance of living until tomorrow slim.

Gone In 60 Seconds provides you with all you need for a popcorn blockbuster.

The film's confused attitude towards pornography is one of the things that lets it down.

Olyphant has a great seductive charm and impeccable comic timing.

None of this is very interesting, but the action does make up for it in part.

F Gary Gray does what he can with a poor script, but cannot hide the fact that the material is soggy and weak.

There is nothing remotely inviting, funny or admirable about it

Tarantino's on good form but there are moments in the middle of the 165-minute marathon where it flags before mustering for its finale.

This is a fun film, genuinely exciting, twisty like the mountain trails, with uncertain footing throughout.

Rock Star has the beat. It even has the vibe. But it ain't got the soul.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

Oliver Stone takes the story and gives it slick mainstream polish, bringing the issue home in a way that is understandable and urgent, even if his hero ends up seeming almost too good to be true.

When murder-most-foul becomes murder-most-samey, goose bumps flatten.

A mature approach to the subject which is long overdue.

Stop-Loss is the most pro-troops Iraq war-film I have yet witnessed.

Nostalgia, soured by memory