Search: Directed by Noah Baumbach

You can enter through the objects, like an Eames chair or three pairs of Ray Bans, bought online. Or through the religious conflict inherent in a bacon bagel.

Baumbach has now reached a point where he is parodying himself, yet he still doesn't seem to have found his own voice.

It cannot be denied that Jay Kelly is interested in exploring the human condition through the lens of fame and fatherhood, but the romantic, sentimental, and saccharine tones come with a risk.

Margot ought to be a plum rôle, but Kidman withers it to a prune.

The balance of the super real with intricately timed artifice and how they collapse into each other is Baumbach's crown achievement.

The dialogue sparkles all over with wit and joy and perceptiveness.

The film is at its best when it is portraying conflicted emotions - as old love underlies fresh acrimony.

A tragically funny glimpse of a family in meltdown, made all the more excruciating by the veneer of sophistication blanketing everyone involved.

This is Woody Allen territory, except not as funny

Baumbach shoots his disaster scenes, evacuations, and poisonous cloud rife with contradictions. The purple sky of doom is beautiful and strangely soothing.