Search: Starring Isla Fisher

Headland revels in the comedy of discomfort and keeps the one-liners coming, while still sticking to - and sticking it to - a romance plotline.

Hollywood is full of tales of people like Moondog who discover the true meaning of life when they get sober. Korine isn't that naive.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

I can hardly remember a movie more spectacularly ill-timed.

Not as sophisticated a film as it likes to think, but it does the basics very well indeed.

The closer Luhrmann stays to the spirit of Fitzgerald and the more he trusts his cast, the better the result.

While the cast is odd they all do their best with what they're given, and in some cases their best is more than what's deserved.

Certain scenes feel too glib and stagey, as though they’ve been doused with pop video gloss – particularly the snow, which surely had its own assistant, make-up artist and trailer.

It's just clever enough to keep you guessing.

This is a study of bitter, sorry people hurting each other using ancient memories, propelled like bullets via the power of fiction.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

The set-up is formulaic, to say the least.

The film retains its cartoon quality, without winking at the audience or pretending it's all too silly for words.

Will have you laughing until you're sore.

The movie is so rotten, so lazy and so ineffective - it can only lower the IQ, or raise the critical barrier for anyone who sees it.