Search: Starring Vincent Cassel

As elegant and overblown as ballet itself.

Erick Zonca is less interested in solving the mystery than in exploring the damaged psyches of Visconti and Bellaile.

It bites off far more than it can chew, but the result is still interesting and, in places, gripping viewing.

Kidman continues to amaze.

The ingredients are here, jumbled up, too confusing to fit the restrictions of a single screenplay

Keira Knightley... will be tough to beat at next year's Academy Awards for her portrayal of Spielrein

The humour bites your face. The popvid camera tricks are tempered by a storyline that demands attention.

Owen can do this kind of thing standing on his head, while balancing a cage of turtledoves.

With its underworld themes and ambiguous protagonist, Eastern Promises plays like a companion to A History of Violence.

The performances walk up and touch you.

They went down to Ealing Studios and shot the film. Dead.

For all its confrontational posturing, there are moments when the film fails to take the leap into the abyss.

The histrionics on display submerge everything else while the narrative pitch throws so much at the spectator that it is impossible to sympathise with anyone.

The powerfully cathartic ending of The Bourne Ultimatum is a long shadow to get out of, and this film never quite manages it.

The only thing of quality is the poster. Its artistic imagination outstrips anything in the movie.

The raw energy that Cassel brought to his role in La Haine has been harnessed again.

Structured like a Greek tragedy, steeped in Gothic gloom, this is a bold and dramatic tale but also a sly one.

If you ever threw safety to the wind and sailed deeply into the love that could be your undoing, you will be able to identify with what Maïwenn and her brilliant actors are exploring.

Twelve is the new 11 and mediocre is the new good.

If ever a film seemed aimed squarely at a family matinee audience, this is it.

Anarchic humour morphs into madness, coupled with racist overtones and a disregard for sensibility.

Chabriel, in his first ever screen role, is a revelation.

It's so scattershot that one finds oneself inventing titles for the 'stories' within the anthology.

The script avoids sentimentality. The performances offer little gratification to romantics.

At times hilarious, at others stomach-churning and always exceptionally weird, Sheitan is destined to become a cult hit.

What action exists is exciting.

An instant classic and far too good for children.

On balance, the dexterity of Garrone’s vision papers over the cracks and finds the poetic dimensions of the magical material.

It's big, traditional, film-making, anchored in some quality performances.

Dumas may have provided the mettle but everyone here has sharpened it.

Boyle makes excellent use of London's roofscape and some dazzling modern apartments whose glass provides both reflective and transparent surfaces which help confuse dream and reality.