Search: Starring Tom Hanks

This film explains why the public are so reluctant to fund universities.

Apollo 13 is one of my favourite films, it's one of those films that stirs my sense of discovery, as well as plunder our collective dreams.

Anderson has absolute command of his craft and his cast are moulded to it.

You cannot have too much Mister Rogers, the film shows.

The film has immense charm and skates skillfully across the surface of sentiment.

It becomes more interesting when it gets out of the comfort zone provided by familiar cynicism and finds warmth in unexpected places.

What seems dry and dusty on the page is far from it on the screen

The premise questions our storytelling conventions.

It's never dull and always looks good, although the Sixties have become the Fifties - not a hippie, or civil rights marcher in sight

The finest performance of Hanks' career.

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

Jeffrey Schwarz, one of the most prolific documentarians working today and a man who has dedicated his life to redressing the balance in regard to LGBTQ+ narratives, is careful not to deliver only those stories which we have all heard before.

Ron Howard directs without flair, but with respect for the source material.

Where Luhrmann and Butler score are in the concert sequences in which the King truly comes alive.

The strongest features of the of the film are the performances by Max von Sydow and by Sandra Bullock as Linda, Oskar's mother.

Whether Forrest's crippled state of mind represents America's tattered prestige is open for discussion.

Much of the film rests on what Hanks can deliver as an actor, and here he does not disappoint.

The film is as soft as butter. Sentimentality clogs the air ducts until it is difficult to breathe.

He manages not only to reveal a thesis statement on his entire career, but also dive into the experimental territory like never before.

The film looks great if you like sand

Ryan is never less than sincere but fails to penetrate the heart of the matter.

The script excels.

Tom Hanks is trying to channel his inner Clint Eastwood for this US adaptation of Fredrik Bachman’s Swedish best-seller - the problem is, he simply isn’t grouchy enough.

Zengel first came to international attention with her stunning performance in German drama System Crasher, and she's no less electric here.

The real challenge is to keep up with the pace as well as the information overload.

Robert Zemeckis has created a unique and (dare I say it?) magical work of art.

There's a quietness about it, a new maturity for Spielberg.

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

The end result, though well-mounted and featuring knock-the-soot-out-of-your-chimney performances from Emma Thompson as Travers and Tom Hanks as the movie mogul, feels more like a Disney theme park version of events than the real story.

Spielberg is a consummate filmmaker, consistently surpassing himself, stretching his imaginative and technical abilities beyond what he knows, or has done before.

Their long-awaited cinematic outing does nothing new or different, but that's not necessarily a bad thing.

The 3-D is subtly done... There are no obvious changes to the picture, which is to Disney's credit.

Spielberg's direction is delicate, but very relaxed.

Toy Story may be the first computer generated full-length feature, but it is also as close to perfection as it is possible to be.

Technically, imaginatively, emotionally, John Lasseter's sequel matches the original.

A dazzlingly confident and magical picture.

The simple search and rescue plot is more than adequate an adventure in which to indulge the antics of our original toys, and allows space to throw in a few choice newcomers.

Despite comedic pitfalls, denser than the Indonesian jungle, the Tomster comes good.

The Tom & Meg Show is feelgood and sugar coated, which is expected, but not witty, funny or original enough.