Search: Directed by Steven Soderbergh

For anyone who ever doubted Soderbergh’s artistic integrity, this unassuming film is a minor monument to excellence of execution and the enduring validity of his work.

It is quite something to witness Douglas and Damon embrace the characters quite so authentically.

Certainly Soderbergh gives you a sense of the boredom of war - as the days tick by on the screen, you feel your own will to live begin to falter.

All the excitement of a wet weekend in Bognor.

After a compelling start and a long, immersive second act, sadly Contagion starts to peter out towards the end.

Finney adds definite class to Roberts high octane performance.

Antonioni's film is the last of the three here, and is arguably the weakest, which is something of a disappointment because the disciples seem to have overshadowed the leader.

What's infuriating about Full Frontal is that it's too close to real life to make sense. What's invigorating about it is that it doesn't give a damn.

All this window dressing is just sleight of hand; pull it aside and there’s no movie there.

There’s nothing particularly radical about what Soderbergh is doing here.

Soderbergh lays the pretension on thick in flashbacks to the Barcelona job that is clearly at the root of her problems, with slo-mo here and black and white there doing nothing to distract from the fact that it has all the substance of a chocolate bar adv

Soderbergh has great fun playing with the conventions of the conspiracy thriller.

The subtle sense of humour Irons portrays, as well as superb comic turns from Keith Allen and Simon McBurney as Kafka's impish assistants, strengthens the film's absurdist undertone in keeping with the traces often encountered in Kafka's novels.

Lem Dobbs's script is chrome-plated - flashy dialogue and a storyline that goes off the rails.

The script depends on the pieces fitting together at the right time in the right places, ignoring daft coincidence and ludicrous possibilities

Frank, funny and immensely entertaining, Magic Mike is a brilliantly bittersweet cautionary fable.

Pleasant enough.

What starts as an almost domestic story involving a couple of low-rent hoods will gradually morph into a game of high stakes with unlikely players and a plotline that takes its cue from events in the real world full of corporate rather than card sharks.

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

The plot may be off the credibility charts, but while you're in it you're loving it.

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

Even Jim Carrey couldn't get away with a plot as daft as this and since it's based on an Elmore Leonard novel, you wonder whose to blame.

A film that is so focused on the presence we can’t see it forgets to fully flesh out the lives that we can.

Made on just over a million dollars, this remains a hugely impressive first feature.

Soderbergh, just as he did with his 2011 film Contagion shows that the disaster you expected safely elsewhere, is right in front of you.

Soderbergh's use of real time, old time, dream and memory is orchestrated with such delicacy that the meaning of truth dissolves into pure sensation.

Stephen Gaghan's script covers the territory with brutal honesty. The actors respond in kind.

That the biggest surprise of the film is not a plot point at all but the appearance of someone famous in a cameo role, speaks volumes.