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It's a stodgy interpretation of something that wasn't that fresh to begin with.

Cage here continues the recent return to his legendary loony best.

Remnants of bygone ways of life are beautifully shot in Giraffe.

Marazzi is so focused on the frame of her life that the picture of Taro itself feels lost in the shuffle.

Disabled people just haven't had this kind of representation.

Both Losey and Pinter are less interested in the romance itself than in the way its illicit nature exposes the class divide.

Whilst the dark comedy here generally hits the spot and the characters are quirky yet believable, God’s Petting You doesn’t really have enough substance to justify its running time

As much of a mess as the aftermath of its set pieces.

Sweet without being sticky and with just enough sourness to keep things real, this is a romantic comedy that delivers in both departments.

Easily the most imaginative, energetic and engaging children's film to hit cinemas this Christmas.

Much messier and more like real life than the average coming-of-age film.

Gone In 60 Seconds provides you with all you need for a popcorn blockbuster.

All this window dressing is just sleight of hand; pull it aside and there’s no movie there.

They do, it seems, still sometimes make them like they used to.

What we get insults the intelligence - no one would follow Britt Reid into a donut shop, never mind a life or death battle.

Any number of the film’s frames belong in frames, fit to adorn palace walls.

Christopher Lambert's soulful performance creates real emotion where the film might otherwise have descended into camp.

The slapstick is not funny, it's violent. A sensitive child will be shocked to tears.

We move from one subject and set of characters to another, but the pacing, energy, horror and humour are perfectly in key, and the whole is a perfect delight.

Making sense of explosions on green screen is a tough call

This is filmmaking that paints by numbers and with Key Performance Indicators in mind.

What does it mean to be a real boy? Perhaps the answer doesn’t lie in flesh and bone.

Well-written dialogue, strong acting all round and unobtrusive but taut direction give it real strength.

Every one of the Lilliputian characters is so bland and personality-free that they could have been played by the creepy CG Jeff Bridges from TRON: Legacy.

There is an element of Dostoevsky in modernity that helps to channel and control the enigmatic and philosophical messages throughout the film.

The film moves deftly between humour and poignancy, generating a strong emotional response in its quieter moments.

Without the girl the film might have slipped under the radar. With the girl it takes off.

The plot doesn't move and the story is unbelievable.

Fanning's sincere face in happiness and disbelief is the essence of the film.

There’s nothing particularly radical about what Soderbergh is doing here.

The film's confused attitude towards pornography is one of the things that lets it down.

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

Firth gives one of his brooding, unshaven, devilishly attractive performances, borrowed from romantic fiction.

In the end, this isn't the obnoxious film it might have been but it isn't a very interesting one either.

It starts to become clear what happened here: there's a children's party game where everyone takes a turn writing a paragraph, and the next person only gets to see the last sentence.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

Angus MacLachlan finds little new to say about the rocky road back to equilibrium after divorce.

Penn has come up trumps.

Don't let Knoxville's Jackass pedigree put you off - he can be subtle as well as gross.

Perhaps wisely, Grassroots never really seems especially engaged with ideology.

This is Dante's masterpiece.

It was lovely to see the film... I want to get the DVD so I can see it again.

A modest yet impressively assured psycho-mystery.

Overall, Guardians of the Galaxy is good fun.

The humour is so crass, to call it dumbed-down would be expansive.

It's all a little bit familiar, with the characters seemingly straight out of Green Street or Football Factory.

If the plot is poor, the direction takes dull to new levels of blandness.

By this point in his career, Ken Branagh had found his voice and a set of skills to match his confidence.

Its humour - this is a very funny film - comes from observation and character.