Search: Starring Woody Harrelson

Never fear, the requisite monuments duly get what's coming to them.

The main problem lies with predictability and a fundamental lack of originality.

An underrated and decidedly charming affair.

Hope is the antidote. Really? They all say that. Can it be true?

None of the characters are interesting. They slip into stereotype and stay there, grinning.

For all its star-power there's not much shining.

It's the sort of film that couples should enjoy equally; there's serious eye candy whatever your preference, and the film's energy and good humour is infectious.

As with many Dupieux films, beneath the laughter there’s a fair bit of insight into the absurdity of human relationships.

The script is dangerously low on laughs and appears charmless

What makes this better than a smack in the face with a wet cliche is Woody Harrelson's performance

Penn has come up trumps.

The title suggests derring-do, when No Country For Grumpy Old Men would better set the mood.

Harrelson proves once again that he is a fine physical performer and Arquette hints at the sexuality of Rita Hayworth.

Ross avoids the hyperbole of gore and mayhem to keep the emotions of what is happening so near the bone it hurts.

It's easy to forgive the fact that nothing's happening when it's not happening around Jennifer Lawrence.

Jennifer Lawrence's expressions stretch from worried to confused

The plot stutters into absurdity

Probably the most romantic picture Lyne has attempted.

Establishing shots of boats and docks and archive footage are not only more genuine than the film's version of events but more convincing.

There is no escaping the weightiness of the subject matter and Movermann treats it with the necessary respect, but he also shows evidence of a lighter touch, which helps to alleviate the pathos and prevents the film sliding into melodrama.

The film is gratuitous and gross, treating the audience as cretins.

It's just clever enough to keep you guessing.

Against the whisper of wind and buzz of flies, the Coens manage to find tension in the subtlest of movements and cut the dialogue through with humour as arid as the landscape.

What finally raises the film above its somewhat programmatic, fight-the-power formula is its willingness to provide a believable context for the abuse.

Any attempt to explain the detailed confusion of the storyline will cause brain damage.

Woody Harrelson and Antonio Banderas are terrific and director Ron Shelton's script plays hard ball from the start.

A delightful, genial, lovable movie - the product of an idiosyncratic artist and master storyteller.

Ultimately the in-your-face style and confusing story stop the emotions from getting truly under your skin.

A car wreck has more style.

A strange, tepid mixture of basketball drama and comedy set in what television and dull popular culture remembers as being the 70s.

McDonagh just about makes this ultra violent meta train ride all hang together.

It's difficult to imagine any fan of Dick's failing to adore this film; but as it retains the genius of his work, so it retains the flaws, and this could be a big problem for some other viewers.

It’s refreshing to see an unconventional plot in a Hollywood feature, especially with an actor such as Smith involved.

Me hate it.

Solo is an exercise in retroactive continuity, and its ability to create peril is itself imperilled by what we know to follow after.

One increasingly unlikely incident follows another, saddling the characters with exceptionally dumb behaviour and silly dialogue until the whole thing goes off the rails.

The film is confused about what it is trying to be - is it a high octane thriller, a gritty police drama or a tragedy? It certainly isn't all three.

Nil points for originality.

Fortunately, McDormand never lets Mildred's hold on us slip, balancing the conundrum of a woman who is simultaneously a mum, who likes a beer and a game of pool, and a Rambo-style avenging angel.

A roller-coaster of the effects of absolute power corrupting absolutely.

In an era of almost infinite possibilities for entertainment, Venom isn't one to recommend.

A real cinematic gem disguised as a rhinestone.

While the last of the trilogy succeeds in preserving its substantial core, the coating this time feels forced and overpowering.

Shelton's direction is at its best in the action sequences.

The humour is knuckle-to-knuckle, accurately sending up the media's hunger for a story, any story.

Everything about Zombieland works, from the expositional flashbacks, to Columbus’ voice-over narration, to the well-judged but sudden changes in tone.