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Once they hit the road, the script goes away with the pixies.

Don’t be tempted to dismiss it as another fluffy chick flick – this is a film with balls, bite and plenty to appeal to both sexes.

A story of courage, conviction and physics in free fall

The film is a kind of torture.

The brave new world of electronic dictatorship is not ready for this. There are no maps.

The design has a stainless veneer, bathed in early morning light.

A film well worth seeking out, or rediscovering, if you like stupid films that are actually made by very clever – and very funny – people.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

This sweet animation - firmly aimed towards the younger end of the market - is warm and nostalgic as its Fifties Italian setting implies.

Director Rebecca Miller gets terrific performances out of an admittedly terrific cast.

Plotting is afoot, so that the spirit of the Eighties is embraced and royally sent up.

Mayhem ensues - occasionally too much of it

Luna wallows in emotional gloom like a pig in mud, coating the script in a layer after layer of regret to little purpose.

Like the best of the Pixar and Looney Tunes output, Lepeniotis doesn't dwell on his visual gags waiting for each one to get a laugh, instead frequently throwing them out one after the other to good culmulative effect.

A delightful, genial, lovable movie - the product of an idiosyncratic artist and master storyteller.

Films that find alcoholism funny, encouraging the kind of behavior that would give Gramps a heart attack, are kicking at an open door

Drawing on coming book traditions rather than the animation styles associated with the TV series or previous big screen efforts, it makes for stunning viewing: fluid, inventive and full of character.

Visually colourful but narratively bland.

Nat Faxon and Jim Rash's directorial debut may not be breaking any new ground but this is a warm and funny tale, helped enormously by good performances and a snappy script.