Search: Starring Emily Blunt

There's a lot of good work here, decent performances from Blunt, Damon and Mackie, some gorgeous locations and some neat production design, but it doesn't quite work.

Clings steadfastly to rom-com form.

Despite the costumes being ab fab, darling, the plot's no blazing trendsetter.

What made the original feel like a breath of fresh air makes the sequel feel like just another entry in a crowded field of contemporary institutional satires

Perhaps it is gauche to call a director approaching 80 naïve, but that is the sentiment that lingers as Disclosure Day itself unfolds.

Cage gets killed over and over and comes back to the same place to start again. Bor-ing!

Film is an assemblage, a team effort, and in foregrounding the unsung The Fall Guy gets its mix wrong.

The problem isn’t that we seen it all before – it’s that we’ve seen it all done better. Much better.

While the concept is a quirky, eccentric delight, the film itself rarely feels like anything other than a run-of-the-mill animation of (ahem) garden variety standard.

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.

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

The charm levels are high

In the woods, we are firmly placed in the shoes of the children and slowly start to understand the adults through their songs.

The best thing Susan Sarandon has done for ages.

Pleasing enough for those seeking nothing deeper than formulaic romance, but the pleasantness of an employment does not always evince its propriety.

The stakes are high and the fears tangible in this return, which invites discussion and doesn't protect parents from uncomfortable questions. This is the power of the film. Mary Poppins herself wouldn't want it any other way.

It's a straightforward enough tale, given life and zest by the performances.

God might play dice, but Nolan is a watchmaker.

If it doesn't make sense terror dissolves into a puddle of giggles

Blunt and McGregor do what they can but they, like their characters, are swimming upstream in a river of syrup to a soundtrack that came from the drawer marked Now That's What I Call Celtic.

Villeneuve sustains the knife-edge tension without a blip.

You may suffer mild face ache. This is caused by persistent smiling

Repetition also works against Safdie, with matches towards the end of the film feeling as though he is labouring the point.

While Adams and Blunt scrabble for subtext and a depth that simply isn’t there, the movie congeals around them.

The Wolfman is no one's definition of High Art, but it's great craft.

It's often the most slender plots that make for the best scripts because they force writers to work harder, but there's no indication of anything resembling work having gone into this.

Well framed and assembled, with plenty of good performances.

What you get out of Your Sister's Sister is likely to depend quite a bit on the audience you see it with.