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The comedy and thriller aspects of the film don't always gel but the character work is generally strong enough to carry us through it.

Instead of curbing Welsh's excesses, he platforms them. The result, with the exception of The Granton Star Cause, is unwatchable.

Directors Rod Blackhurst and Brian McGinn do a good job of keeping things balanced and of illustrating the ways in which sensationalism can be misleading.

McGregor's character paradoxically gets too much and not enough. Swede feels clogged with sentiment for his daughter, with little room for other emotions.

The script is hilarious and the CGI's lip-and-eye treatment positively perfect

The script has a sense of humour that doesn't dazzle with punchy one-liners, but is consistently witty, without showing off.

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

Club scenes can often feel forced and inauthentic but additional atmospheric sound design, strong production design and kinetic camerawork from cinematographer Gordon Campbell generate a believable ambience as Ayo's experience slides from exploration into

Ineffective blend of action and comedy

Strong on style and remarkably assured.

McGann poises her film between Stephen and Alessia’s story, rounding out the background with those who know them both and, in a nice bit of balance, both of their fathers.

Suture, have avoided every cliche of film noir.

Fear(s) of the Dark is a collection of great animations, but while each of its chapters are great, the overall film doesn't gel brilliantly.

Although there’s an increasing number of films on related subjects, this is the first to adopt the language of mainstream cinema with such success.

A very New York film.

Annette Bening plays a different character, raging against the truth, a bitch angel feeding her emotions.

Perhaps not as good as the sum of it’s parts, McGuigan’s second effort is visually impressive, a great comeback for McDowell and a launching pad for Bettany.

A story brought dazzlingly to life by the talents of its veteran cast and crew

There is magic here.

Although flirting with melodrama, writer/director McGann remains wedded to the truth.

The relationship between Cian and Grace, whose patience he slowly begins to recognise and appreciate, is beautifully drawn.

Black Pumpkin is an entertaining romp that will delight horror fans.

It's the pace of the film that wins the day.

Those anarchic avians, the penguins, steal every scene they are in making them, to my way of thinking, the best additions to animated film since that coyote fancied roadrunner for dinner.

Formulaically funny and kids will adore every derivative minute.

Megamind’s developmental path is less about following a cookie-cutter moral compass than it is about good old-fashioned character development.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

The best praise you can heap on Push is that it’s nearly good.

After 15 minutes of fast zooms, sliced cuts, topsy pans and turvy close ups you want to be sick... after 40 minutes, you have eaten your words and are beginning to think this is original and thrilling.

Director Jen McGowan proves expert at drawing out the humanity in her characters, making the brutality of those bent on protecting their own interests far more disturbing.

On its surface, it is slight - after all, this is a single family argument between a drag queen and the sister who disapproved of her brother's lifestyle - but McGuire is hunting for deeper resonances.

Terminator Salvation looks more towards its potential sequels than towards itself.

The premise, rich in possibility, is enhanced by haunting cinematography, eerie music and a colour palette which sees initially subdued tones fade almost into black and white.

A straightforward, by-the-numbers sports movie designed to boost Kleenex sales.

Indulges a form of slow motion romantic slush that smoothes the rough edges and gives the film a polished sheen to disguise its mediocrity.

The Thornberrys are a cartoon, of course. Their animation is less important than their sense of humour.

Directed with wit and panache by Scott McGehee and David Siegel, written by Carroll Cartwright and Nancy Doyne, Maisie stays true to Henry James's two-part essence.

This isn't just about big concepts and whiteboards but the everyday positive reinforcement that helps kids get on in all senses of the phrase.