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A combination of strong acting and astute writing gives us four distinct characters any one of whom would be strong enough to carry a film on her own.

It’s the central relationship between mother and baby which forms the most interesting part of what is otherwise a fairly straightforward ghost story.

The writing is so sharp and rapid-fire, and the performances so charmingly self-lacerating, that you will be happy to spend time in these characters' company.

Not since The Goonies has there been a display of spectacular home-made gadgets to equal this.

It’s kind of a good film, but it’s kind of an irritating one too.

There is too much of the ring of the academic argument and, especially for a film so concerned with the spiritual, not quite enough soul.

While it might be a bit too heavy handed in terms of symbolism and part of a very crowded genre, Lymelife isn't guilty of any major sins either.

The mystery's got some darker touches than might be expected, the process of updating Nancy from the Thirties to the new millennium is well handled, but there's little originality, little sparkle.

The film has visual chops but leaves too many threads hanging

If there's a wish for more in Palo Alto, it's largely because what is here works so well.

Jennifer Connelly has never been more subtle and astute.

Thurber directs with broad brush strokes rather any finesse although the myriad close calls, mistaken identities and persuasions do produce their moments.

It may be derivative, it may contain one too many clichés but nevertheless, the film is dynamic, energetic, amusing and clever.

As the film progresses, its identity crisis becomes increasingly evident as standard indie tropes are interrupted by cackhanded attempts and comedy of the broadest type.