Search: Starring Seth Rogen

The film gets an impressive amount of mileage and you never really feel like it's dragging.

Like several genre-splicing and convention-lampooning comedies of late, the film tries to have its cake and eat it, but this can leave both sides of the recipe feeling half-baked.

There's something unconvincing about Seth Rogen playing a responsible adult that undercuts much of the comic tension in Bad Neighbours.

It's easy to charm an audience with warm-hearted stuff like this. Where Spurlock really succeeds is in cramming so much meaningful information into his deceptively lightweight film.

The writers care about even their smallest characters.

Rather than simply turn Tommy into a laughing stock, Franco teases out the tragicomedy of the man.

A pleasantly entertaining film which will amuse children without greatly distressing adults. What's unfortunate is that it isn't nearly as entertaining as it ought to be.

The trademark Spielberg visual flair is there from the outset and keeps this film interesting at times when the narrative is moving slowly, or when it lapses into melodrama.

Despite being occasionally misjudged, Travis' film maintains its sparkle and warmth thanks to its outstanding leads and sparky script.

The film lacks strong enough dialogue to do justice to the boldness of its script.

What we get insults the intelligence - no one would follow Britt Reid into a donut shop, never mind a life or death battle.

Wilde's direction is assured, there's some gorgeous framing and frequent Rogen collaborator Adam Newport-Berra's camera makes the most of what's in front of it.

Judd Apatow has marked himself out as the leader of the pack when it comes to delivering effortless and believable raunchy comedy.

A thoroughly enjoyable confection that will amuse the kids and provide some decent laughs for those of us for whom attempting a roundhouse kick would require pain medication and physical therapy (I know, I tried).

The vocal cast is star studded. Trouble is they are given too little to speak.

It quickly becomes clear that Favreau’s approach to bringing the same lifelike animal CGI from The Jungle Book to The Lion King lacks one prime element that made the former a success – emotion from a human lead.

The politics are basic if not base and do not fulfil a rich man’s lunch hour.

The best gags, at least for the over 20s, subvert 50s sci-fi movie convention.

I found myself half-laughing at moments of acidic and keenly observed characterisation before being blasted with horrific crassness and vicious violence.

What you expect from a bunch of stoners, but done well enough so you won't care.

Though it's not on a par with Simon Pegg and Nick Frost's best work, it's hard to imagine anybody not enjoying it.

If you’ve ever wanted to see a bagel and a lavash engaging in homosexual activity used as an argument for why Israel and Palestine should just y’know, smoke some weed and get on with each other, here’s your chance!

Fassbender does his best to not make the man easily likable at first.

I honestly wish I'd written this movie, and I suspect a handful of people my age feel the same way.

Treading a fine balance between self-referential smugness and earnest likeability, the core duo of Baruchel and Rogen get things off to a good start.

The idea of the cyclical nature of love and life is ripe for exploration and Margot is a pleasingly complex character, whose motivations are believable.

American comedies are going through a bad patch. Wit is in short supply.

All the abusive repartee between staff and customers should gladden the hearts of minimum wage workers everywhere.