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The movie is fun, without being furious.

Who are those grown-ups weeping in the back row? Ignore them. They're historians.

Never could the warning, 'Stay away if you're easily offended,' be more appropriate.

Branagh has none of Allen's flair for comedy.

The performances reflect Robbins' upbeat approach and are as enjoyable as they are inspired.

Misses at every opportunity.

As big liz flicks go, Godzilla delivers the goodies.

Hop is ultimately more accomplished than it might need or reasonably be expected to be.

The harrowing latter half of the film could easily have become alienating, but Seyfried makes it compelling.

Interesting ideas lurk, tantalisingly, underneath the romcom formula and yet every brave move Zwick and his co-writers make is countered by something weak and formulaic, as if in apology.

The film doesn't know what it's doing, or where it's going.

The film’s biggest strength is its imaginative special effects.

Cedar aims for emotional truth through visceral recognition and he succeeds in feeding our desire to understand what makes humans do the things we do.

I wasn't bored. And I had expected to be. In fact I was laughing loudly.

Viewers who are still awake after the first 20 minutes will be bludgeoned into unconsiousness by the the film's heavy-handed morals of unconditional love and family transcending blood relationships.

Their long-awaited cinematic outing does nothing new or different, but that's not necessarily a bad thing.

There's a slew of awkward self-deprecating jokes that suggest the writers don't actually like smurfs in the first place, which leaves one wondering why anybody thought this film should be made.

This might have seemed like a barrel of laughs but it's actually just a barrel of shit.