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The dialogue doesn’t quite ring true.

The fast pacing allied to some dark humour and a few absurd moments certainly makes for entertaining viewing, even though over time you keep waiting for the film to hit some deeper note.

Christopher Egan's achingly bad condescension to Hollywood's stupidest stereotype of the Englishman would be better suited to a Zucker brothers parody.

A classic three-tissue melodrama.

An awe-inspiring experience.

The script is sharp and witty, but, like the big waves, comes and goes.

Although the pacing is sometimes poor, the sentiment - while occasionally straying towards the sentimental - is heartfelt and sweet spirited.

Javier Beltrán is the real standout, delivering a performance that could easily have slipped into sentimentality with heartbreaking precision.

Sinister, stylized and sexually-charged.

There are many scenes delightful to young children which older viewers will find shallow and gimmicky, whilst the younger ones will be left puzzled and bored by the strange romance between Sarah and her enemy.

Just when you think you know this story, Oldroyd and Birch begin to show you that you don't.

The setup may call to mind other films about women starting life anew in beautiful exotic locales — let’s say Tuscany for example. However, Land puts forth a quieter and darker tone.

Lara has changed. No longer a three-dimensional computer game heroine, with enhanced breasts, she has emerged as the next James Bond.

Director Tiffany Bartok doesn't shy away from the depressing aspects of Kevyn's story, nor obfuscate his responsibility for parts of what went wrong.

What once was fresh, now is stale.

Romance is infectious and by the end you're likely to have caught a good dose of it.

As Brucie bursts into yet another room and unloads his automatics into yet another group of anonymous heavies you’ll find it hard not to think that this has all been done before – and better.

Depardieu's role feels underwritten, although you can't fault Truffaut for an accurate assessment of not just his character but the star when someone describes Bernard as being "a little like Jean Gabin, physical yet gentle".

Unnecessary plot layers descend from a great height, crushing any spark of adventure.

Huston's performances are astounding.

Even in the darkest places it finds moments of joy and wonder, whilst the banter between the boys is beautifully observed and full of humour.

Writer/director Lisa Cholodenko dispenses with cliche in favour of genuine characterisation and her script is a paragon of understatement.

In a sea of cop drama, which is victim-orientated or defence-based, its unique perspective helps it to stand out from the crowd.

The pace is frantic, the colours electrifying and the storyline zippedy-who-dah

Although The Lego Movie 2 is fun it relies on too many throwaway jokes and references, some of which are unfortunately repeated ad nauseum.

The plot can sink without trace, which it does, because this is all about the stars

Emotionally electric and so deeply felt, Lian Lunson's infuriatingly artsy documentary style fails to dilute the privilege of the experience.

The real plot doesn't start for almost an hour and when it does is less interesting than a Roger Moore 007 caper.

Christopher Ecclestone has rarely been better .

The Pates use flashback, like postcards from the pit, exploring aspects of character that contradict and expose.

It’s a one-man showcase where Carrey’s shouty, motormouth antics are the whole dog-and-pony show

It is saved by the ever-dependable Bradley.

While both McGregor and Diaz are watchable enough as a likeable loser and a redemptive bitch, there's never any sense that they're 'made for each other'.

Essentially, what we're getting here is Buzz's origin story, which is all well and good but episodic.

Offers plenty of uncomfortably familiar observations for anyone engaged in a relationship that is either long-distance, or just long-term.

Shot in vivid colour and interspersed with some terrific songs, this is a formulaic story but a hell of a ride.

The garments are liberating, positioning the wearer as subject, not object of a gaze that evaluates the body.

Thompson's forceful, charismatic performance brings life to what could have been a relentlessly grim film, but it also unbalances the drama somewhat.

Overall the film is competent, witty, intelligent.

This is a serious and entertaining character study - stripping down the lives of Soho and Raymond - that has the looks and acting talent to win over a crowd.

Has its moments of genius.

This is indeed the war of worlds

Clichéd archetypes these characters might be, but the cast playing them are immensely likeable and, most importantly, funny.

The inevitable sadness is balanced by so much joy and energy that it's a delight to watch.

Vitija rarely gets distracted from her approach, and this is a strength – not easy to achieve with so much material to pull together.

There's a rare intelligence to this film, which explores issues around race, wealth, class, gender and what it means to be a real American in a nuanced, multifaceted way.

Anyone who ever ate school dinners will recognise what's on display, beautifully recreated in lurid hues with the volume turned up.

In line with his economic storytelling, Russell has a gift for conveying little details through subtle performance notes where other filmmakers might telegraph intent.

Scrimshaw captures Lynn's warring emotions perfectly.