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A rollicking, humorous rollercoaster ride with stunning set pieces.

By focusing on the journey of how a spy becomes the Bond, James Bond we all know, the movie manages the impossible task of coping with all the baggage laid before it and reinvigorating our interest.

With so much good work involved in the cowboy side of the film, it's a real shame that the aliens appear to have been hastily sketched on the back of an envelope.

Everything is fairly predictable and heavily signposted.

While clearly aimed at fans of Bond, there's a lot to sell this to those who are unfamiliar to the franchise.

Life changing events are signaled so far ahead that tear ducts have withered by the time they explode.

Rian Johnson's knife is sharper and more precise the second time out.

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

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

The designers are caught in an unfortunate time loop that keeps dragging them back to the Eighties.

Run, stay awake, run harder, stay awa…zz…longer until an antidote can be found.

Brody's concentrated performance, as a man who may, or may not, be going out of his mind, creates a tense, claustrophobic atmosphere that pervades the film.

As a whodunit, the film is fun and forgettable.

This is a half-decent Episode 1 of an action summer blockbuster.

The latest piece of gangland roughage is suitably violent, with a who-gives-a-monkeys attitude.

Where is the anguish and the anger of this man whose paintings screamed at life’s abuse and the absence of love?

By positioning itself carefully between the imperatives of retaliatory justice and their fearful consequences, the movie is ultimately less a political thriller than a mesmerizing study of psychological breakdown.

No quickie run-through of plot pointers can do justice to the exquisite look of The Mother.

No Time To Die might not save cinemas, but it will keep Bond going.

Quantum of Solace is lacking the unique 007 vibe.

There’s also an emperor’s new clothes feeling to the general style, look closely and there's very little there.

Renaissance is blessed with a script that not only feels like genuine noir rather than a hastily written pastiche, but also is not subordinated to all the visual razzle-dazzle.

Sam Mendes creates a mood of menace by avoiding obligatory violence.

This is the best-looking Bond film ever made.

The ultimate catch is that Spectre is no longer the villainous outsider. Their badness is corporate: its core, global surveillance and information technology.

Simon Cellan Jones's first feature is an interesting TV drama. Cinematically, however, it leaves much to be desired.

Gwyneth Paltrow gives a brave, uncompromised performance that does not shrink from the self-possessed obsessions of a selfish mind.

The performances by mainly young unknowns are excellent and the script is the best Boyd has done.