Search: Starring Bill Nighy

This is complete hand-waving trash - he's an ignorant, privileged cocky arsehole and good things happen to him. Pass the sick bucket.

This simultaneously cool and cosy tale of families and Christmas spirit will have Aardman's pockets jingling all the way to the bank. And deservedly so.

The intricate detail of the colourful computer animation will wow viewers.

As comfy and cosily British as a nice cup of tea and a biscuit.

The real star of this movie is Alan Rickman.

Feeling like watered-down Curtis, the jokes frequently fall flat and you keep waiting for the big laughs that we know he can deliver.

The choice of [director] Meirelles, who made City Of God with street children in Rio, was inspired.

Not since Sofia Coppola's Marie Antoinette came out in 2006 has any film looked quite so much like a piece of confectionary.

Exciting, adventurous, and flush with visual and verbal gags

It's big, it's flashy, it delivers on thrills, and it's almost completely character-free.

They went down to Ealing Studios and shot the film. Dead.

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

A refreshing take on the usual period drama cliches, with a dry wit and a refreshing realism leavening the lush romance.

Our modern Prometheus spends most of the film sprinting from one CGI-overlaid battle to the next.

Writer-directors Neil Hunter and Tom Hunsinger... have made a film which successfully manages to dramatise the subtleties of modern relationships

The film has a genuine sense of grand guignol, the Gothic undercurrent of bloody horror

The deliberate airlessness - which finds contrast in the likes of Miss Harris' joy at her first knickerbocker glory - works well initially, but as Nighy has less screen time and the film slips into considerations of the switch in Williams' life in the past tense, it drifts towards the stagey.

It feels middle-aged, lazy and reliant on stereotype.

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

A good, solid British comedy.

The plot may be puerile, but the action never stops and the animation, however achieved, is most impressive.

It’s aided by Ryuichi Sakamoto’s highly evocative score, which locates it in time and space as well as providing a dramatic undercurrent to the action.

Eyre’s direction is flawless and Patrick Marber’s screenplay perfectly pitched.

The intrigue feels under-cooked and the subject matter is yesterday's news, robbing an admirably action-free mystery of much of its impact.

Visually, as well as in certain performances, the final instalment of Disneyworld Goes Hollywood has a healthy infusion of surrealism and a sense of humour.

The film bogs down in incomprehensible ya-ya. There are three or four plotlines going off in different directions.

The noir element, however, is lightened considerably by the film's other big debt - to the antics of Warner Brothers' cartoons past - with the characters frequently finding themselves in enjoyably absurd situations.

A feelgood parable of human nature's ability to extract the positive from a negative.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

Retaining the waspish asides of the first movie but able to bring much more fragility to the fore, Smith effortlessly exposes a contradictory combination of fear and bravery that many older people will find familiar.

George Romero has stated that he loves this film. It's easy to see why.

There are no weak links in the top-notch cast.

Spall skuttles about like a rodent. Connolly is wasted and Bergstrom shouts a lot.

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

Whereas the original was a bright, primary coloured comic book, this looks more like a mobile phone advert.

A charming and entertaining take on the film within the film scenario, with solid performances from all of its cast.

Delivers in spades what the first film only hinted at.

Offers far more visually than it does narratively.

Absense of personality leaves Beckinsale's character in a limbo, where sex appeal is not the same as charisma.

Screenwriter, Christopher McQuarrie and director Bryan Singer have done a terrific job of resurrecting the Seventies style of war film spiced up with the benefits of modern editing and special effects.

The film mines a lot of clichés but manages to do something a little different with them, blending traditional elements of children’s fiction with a distinctly 21st Century sensibility.

Worthington is as nebulous a charisma void as ever, sucking all the life out of everyone and everything around him, while Liebesman is reasonably capable with action but proves a total hack when it comes to handling anything remotely resembling drama.