While Blanchett not surprisingly is great as this very rich and polished yet dangerously brittle woman who starts off as the more confident and even a tad pushy one in the affair, Mara is a revelation as a girl who is as vulnerable as she is generous.

Leonardo DiCaprio, as DiCaprio does, gives this film all he has got, and more, as he crawls, strips, grunts and grates, and is butchered and butchers in return, for revenge.

Mark Ruffalo’s film is a gripping portrait of what happens when institutions decide they are bigger than the people who make them.

The film is a fascinating account of how show business works, where success ultimately subverts everything else.

Chris Pine as the anchor of that boat and hence this film is an effective choice, a good-looking, clean all-American hero with the shiny eyes one can’t ignore.

The first part of Room ends with Jack’s flight — almost too quickly. The rest, dealing with their life in the world outside, is more predictable, more practical.

…the film belongs to Lawrence, even if she is perhaps a little too polished. As Russell struggles to get a grip on her role, she at least falls in step pretty efficiently — whether Joy is deeply crestfallen or completely overwhelmed.

The Quentin Tarantino’s film, unfurled as “chapters”, feels like an actual short story for a cold winter day.

Director Tom Hooper gets everything right. The problem is that his Einar/Lili is etched in the same perfect strokes. You are impressed, you are not moved.

The film remains true to Charles Schulz’s drawings and pen strokes — down to the two-dimensional sketches even in 3D — and his characters.