Search: Starring Andy serkis

The sheer predictability of the plot means it doesn't really stand up to the scrutiny of anyone older than 15.

What the film achieves, better than any other rock music movie, is how unorganised and stupid so much of what went on behind the scenes was.

A rollicking, humorous rollercoaster ride with stunning set pieces.

This feels leaden, not just due to its length, but in the attempt to be heavy, to be worthy.

Succumbing to rather too much melodrama in the final third, which undercuts the chilliness of what has gone before, this is nonetheless an interesting debut that promises better to come.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

In truth, this is yet one more safe retelling of an old favourite. Not radical at all.

Taken as a straightforward comic horror movie, this feels too derivative and clichéd. Taken as homage or pastiche, it's not nearly funny, knowing or camp enough.

Distrust is a dangerous and volatile thing and Reeves' film shows how it is this rather than grandstanding gestures that often lead to conflict.

Bassett's taut script takes risks with credibility.

As a work of fiction focusing on human rights, as a protest film, it is first rate. But as cinema entertainment it may well be swamped by similar themed films using larger budgets.

Exciting, adventurous, and flush with visual and verbal gags

Frankly, it’s a muddle.

Big is back.

The politics are basic if not base and do not fulfil a rich man’s lunch hour.

Has its moments of genius.

For all its beautiful editing, he most compelling aspect of the film remains the first-person testimony from 'ordinary' Londoners.

Excellent acting alone can’t stop the nagging suspicion that things are being grossly simplified.

The characters are crudely drawn in more ways than one..

The facts are twisted out of recognition.

Some films envelope you, others baffle you. The Prestige is a mixture of the two.

Numerous small changes work together to change the character of the battle.

In short, this is a great summer movie, spectacular in its realisation, yet resonant in its themes.

As the film progresses through bouts of selfishness and success, you learn to dislike him more.

Caine turns in a picture-stealing performance as the over-ambitious Shiner, menacing and yet able to find the humour in his role.

The fantasy sequences don’t work and the childhood flashbacks are too predictable.

The Force Awakens manages to stop one thinking about how disbelief is suspended and instead carry one along.

It's that old magic again.

The film will appeal perfectly to its age group. There is nothing too violent and nothing too serious.

It's refreshing to see a British film that aims for the freewheeling, semi-improvised feel of Scorsese's Mean Streets.

There is more world building here than in any other part of the trilogy, and the additional material means it’s better balanced with character development.

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

The steady - but never sluggish - pace allows the characters to live and breathe.