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A competent effort that ensures the franchise - and [Webb's] reputation - are safe, it's just a shame it doesn't soar.

It just all feels like too much of what we expect and not enough we haven't seen before.

Everything feels alive and the production design by Judy Becker is impeccable.

While some directors spend their lives crafting love letters to the worlds they create, Yorgos Lanthimos has developed a fine line in cinematic hate mail to humanity.

There's some great black comedy here, at times spectacularly cruel.

The 'love' on offer in this romcom that marks yet another notch of disappointment on Steve Carrell's career is neither crazy nor stupid, just cynical and schmaltzy by turns.

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.

Emma Stone really holds the film together, an immensely likable lead even when things get a little too indulgent.

The truly admirable aspect of Eddington is the way Aster constantly pulls the rug from under expectations.

The dialogue is irreverent and sharp like a raven's claw.

Outbreaks of emotion get swung about like loose punches in a brawl - gung-ho yet completely missing the target.

There's some good material about how getting hurt changes you as a person, but the problem is its too often trapped underneath overly-trite sentiment and the need to please impatient teen girls.

If you are willing to accept that this is an exploratory snapshot that seeks to confine itself to the times it is portraying and leave any consideration of modern-day echoes to the conscience of the viewer, this is a good story, well told.

Anna Faris plays ditsy like a young Goldie Hawn, though not nearly so well.

The story is not as well-developed as it should have been but it’s an enjoyable enough treat for Allen fans for whom he can do no wrong.

The entire cast, especially Stone, who has admitted that Lanthimos is a muse, enter into the grand guignol spirit of the proceedings with gusto.

This film might wear its heart on its sleeve, but it is technically slick, well-acted, and laced with ear-friendly tunes. It is, in short, a proper musical.

One of the most elegant films of the year.

Despite offering a handful of touching moments, this quirky indie effort feels a bit messy and never properly finds it's rhythm.

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

After a slow and largely laugh-free start, this does build up a reasonable head of steam, with enough smart lines and well-timed physical comedy to keep its head above water.

I honestly wish I'd written this movie, and I suspect a handful of people my age feel the same way.

Everything about Zombieland works, from the expositional flashbacks, to Columbus’ voice-over narration, to the well-judged but sudden changes in tone.