Search: Starring John Cleese

As a visual piece of pop video-influenced whambammery, it is perfectly pitched.

What is astounding, is the restraint shown by director Gary Winick - nothing takes us from the quiet rural life of America in the Forties.

While it's got some quirks it's relatively inoffensive, and if it feels like damning it with faint praise to say it's got nothing drastically wrong with it then fair enough.

An hour-and-a-half of routine gags.

Save the planet, buy Citizen Quartz watches and eat at McDonalds!

[Brosnan is] put through his paces by Maori director Lee Tamahori and comes out of it stirred, but not shaken.

Though it goes through the motions of that standard kids' Christmas adventure film, Elliot: The Littlest Reindeer lacks the charm necessary to make such endeavours work.

Is it familiarity that makes the heart grow fonder? Or magic?

No surprises. Nothing to write home about. And yet thoroughly entertaining.

There are too many ideas, both verbally and visually, to take in before the ghost of Walt Disney has a spectral moment.

Otto's sensitively structured portrait of an engaging Peter Pan draws us irresistibly into his world.

Life Of Brian manages to go beyond mere satire and silliness and tell a story that has power of its own.

In terms of comedy, belly laughs and unfortunate little accidents making a mess of the sofa, the Pythons has never been better.

Overall, this is a silly romp through some of the best legends medieval Britain has to offer, intercut with some fabulously surreal animation.

All the Personal Best does is remind you that it's not the full series.

The sight gags are myopic, the running gags lame.

Steve Martin is actually quite good at times, but he's let down mostly by a wafer-thin script and misguided direction.

The plot is cobbled together from second-hand ideas and given as much panache as Hush Puppies on a catwalk.

Richard Lewis and Steven Parker’s excellent sound design...really brings the races to life and cinema viewers will feel the thrum of the engines in their bodies as they watch cartoon cars sprint across the screen.

Everyone connected to this film should lose their licence to conduct acts of comedy in a public place.

A car wreck has more style.

As the dashing assassin Puss in Boots, Antonio Banderas is perfectly cast, and there is not one moment of his performance which is not worth watching.

All-in-all... it’s merely OK.

The script, like Shrek, is flabby and going to seed.

With their Day-Glo colours, singing and attitude to hugging, this is probably one of the few animations that will simultaneously appeal to the very young, any parents nostalgic for rave culture and grandparents who tuned in and dropped out.

This one's a little bit more for the kids, as far as funny goes, but if that's a bit of a turn off, think of it as a good way to introduce youngsters to an important part of British history.

Once it segues into animation, the magic is lost, and what emerges is a film of very little brain.

James Bond is back with a vengeance.