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The film gets an impressive amount of mileage and you never really feel like it's dragging.

The plot produces one of those surprise twists that reinforces its decline into gratuitous cliché.

It is a triumph of imagination. The real-life Malkovich is put through appalling humiliations, to which he subjects with grace and humour.

It feels right, it feels good, it feels as sweet as a summer's day

The premise questions our storytelling conventions.

Like its predecessor, this film relies heavily on fast-firing jokes with easy punchlines. Supported by the quirky animation, these are a lot of fun, but older viewers may quickly find themselves feeling worn out.

One for keeping the little ones happy on a damp afternoon.

If the plot development lurks on cusp of credibilty, the characters feel genuinely complex and are given a real sense of humanity by Tomei Reilly and Hill.

Refreshing and breezy - but also forgotten almost as soon as it has wafted by.

The script is full of witty gems, while still remaining rooted in reality.

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.

Colin Firth gives possibly his best performance yet.

There is something wrong, something odd about this place

When Pixar are good, they are very very good, and this is.

Penn’s camera loves the landscape and captures its immensity.

Kidman has the sensitivity of a fawn and the tenacity of a dingo.

Made as a future cult classic.

The animation is just part of the film’s major selling point, which is unpredictability.

Once it has established itself it unfolds with an almost metronomic inevitability, but for all that, for all that, it still satisfies.

A quirky, funny, insightful movie of immense charm.

Napper paints a picture of a place that which may well be the last destination anyone wants to reach but which also, paradoxically, offers a substantial amount of hope for those who find themselves there.

The performances are an absolute joy.

Well acted and sensitively delivered, No Future is a reminder that addicts don’t exist in isolation; that their suffering, and the paucity of state services to support them.

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.

This is an entertaining time passer which should keep the kids happy.

It wouldn't matter so much if Holofcener was seeking to undercut some of this privilege but what the film appears to be saying is that it's okay to be materialistic, as long as you occasionally wring your hands about it first.

DiCillo's dialogue has a cynical bite and the story expands naturally from rejection to humiliation with enormous good humour.

Writer/director Andrew Niccol makes his point with the subtlety of a Vin Diesel chat up line.

Although the storyline is slight, the superb performances from the older experienced cast and the young actors, playing the teen trio, lift Simpatico above the norm.

There are deeper moral questions, ones sufficiently metatextual that I in the audience began to feel and fear complicity.

Mainstream audiences may hate and critics may debate, but Synecdoche is a work of unmitigated, undisciplined genius.

It’s the cinematic equivalent of Morris dancing: there’s lots going on, it’s entertaining enough – but you’re not entirely sure what the point is.

A breathtaking fantasy world with stunning live-action puppetry, flawless CGI and a talented voice cast.

LaBute thinks the act of love is an oxymoron. If he wasn't so acerbic and witty, you would wash your hands, walk out and become a monk.