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At the beginning, wit ricochets off the walls [then] the movie loses its spark.

Once they hit the road, the script goes away with the pixies.

Bombshell is a finely crafted film which benefits from one of the best acting ensembles of the year.

Detail abounds. Glorious detail.

There are too many clashes of style, as if rookie director Michael Patrick Jann has thrown everything into the pot and stirred.

Being an individual is a declaration of sorts

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

Emily Blunt's performance gives the film a centre and a purpose.

If you are willing to accept that this is an exploratory snapshot that seeks to confine itself to the times it is portraying and leave any consideration of modern-day echoes to the conscience of the viewer, this is a good story, well told.

It would be difficult to overestimate the quality of this film.

Tonya's story is a blinder. You walk away with your heart bruised and your eyes swollen

The proverbial buzz surrounding Juno is, like, totally justified.

Josh Radnor is adept at creating flawed characters who nevertheless prove sweetly likeable.

Spencer is good enough to hold the film together single-handed, if there is enough to hold.

Divorced by many years from the context of its original conception, the film might easily be viewed as just another rites-of-passage indie – albeit an unusually multi-faceted one.

Overall, the film doesn't quite achieve the level of dramatic tension it should.

A romantic comedy that cuts up cliches and scatters them across the mid West.

It hits all the right notes. It's cute, it's funny and the creatures and the backdrops are all amazing.

Fun to watch and a resourceful way to respond to the multi million dollar campaigns that were created in support of the proposition.

Don't expect enlightenment or character finesse

A sense of having been here before, as well as the suspicion that Ivan Reitman keeps everything light and frothy for commercial reasons, nags at the pleasure.

Some of the dialogue could be more polished, but the brutal honesty... makes up for it.

If this is the new slapstick, bring back the old

Heder shows no signs of nerves with her first feature, boldly creating a trio of women who are, initially, prickly at best, slowly fleshing them out to reveal each as altogether more complex.

What really matters is the positive energy - from the scripting to the lively colour scheme, there's a sense of maximum fun being had by all concerned at all times.

Aaron Sorkin's scripts are witty, informative and character-driven.

Nat Faxon and Jim Rash's directorial debut may not be breaking any new ground but this is a warm and funny tale, helped enormously by good performances and a snappy script.