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A rollicking, humorous rollercoaster ride with stunning set pieces.

Big Nothing is a very uneven film, whether by intention or design.

Having set a scene of intriguing grotesquery the plot falls victim of its own invention

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.

Yes, it’s flawed and a bit daft at times, but for transforming a show that virtually nobody thought was worth bringing back into impressive Saturday night TV, Davies deserves all the back-patting he gets.

It's not quite as comprehensive as might have been hoped, but it still has a lot to say and a lot of fun doing it.

Flawed, but with enough interest to suggest Jake Paltrow may be one to keep an eye out for in future.

They went down to Ealing Studios and shot the film. Dead.

The plot is pants down puerile

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

The characters of the animals are underdeveloped and the film is ultimately bland.

The character-based comedy mostly works as well as it does on the show, but the laboured and frequently infantile storylines make the film fall flat on its face when it's not half way up its own arse.

Excruciating first date dialogue

If anything the potential dangers of AI are even more in the news now than when the film was shot, making it feel bang up to date.

Open your eyes. Admire the death defying artistry.

Following the phenomenal sequences up on the Dubai skyscraper, it seems that the only way is down.

It’s certainly all very timely and apposite

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.

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

George Romero has stated that he loves this film. It's easy to see why.

JJ Abrams rescues Rodenbury's creation from the pop culture scrap heap and produces a very likeable romp.

The film’s flaws come primarily in the weak villain and some irritating editing and plotting choices.

The baddie's been beefed up, the plot's been pared down, but the emotional core which really sold the first film—the magnificent character interaction—remains unscathed.

It's got some pretty dark moments, and some dark moments that are pretty.

While there are plenty of laughs, the film might be victim of a too-linear, too-literal and too-revealing trailer, and the impact of its funnier moments are dampened by familiarity.