Angie Errigo

Sumptuous to look at, with some decent performances but Branagh's attempt at this gothic horror just doesn't hold together convincingly and fails to engage.

The mammoths aren’t all that is wild and woolly in this innocent, old-fashioned, amusingly self-important, entertainingly mad, rip-snorting throwback to vintage Saturday matinee fare, with all the swell set piece thrills state-of-the-art technology can throw at it.

Pitched awkwardly -- neither for children nor cool young adults -- it's very sweet, very nice and just the thing for a girlie matinée with mum and nan.

With the feel of prestige telly, it's nicely done, sweet and moving.

With a great set designed by an Oscar winner as well as a cast that includes Maggie Smith and of course, based on a children's favourite, it's hard to see where this could go wrong. It does entertain, but it manages to hold back on the sentimentality that you're left with nothing at all.

For all its weaker aspects, it is to be recommended as a denunciation of intolerence made with understanding, compassion, and some humour.

An unsparing look at the winter of life, salted with humour and emotion.

Exceptional turns by Mélusine Mayance and the ever-excellent Kristin Scott Thomas illuminate a tense and compelling story. The contrived modern-day framing works less well.

A surprisingly sweet romantic comedy debut from Ben Stiller.

It's good to know that the widely liked but underused Andy Garcia has here a juicy dramatic role he can get his chops into.

Familiar but enjoyable. Not being funny, the elephant (Rosie, played by nine-foot enchantress Tai) is the real star as the most moving and only joyful presence in sight.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

His unique vision as a committed artist and unrepentantly crude joker makes this sweet, disarming, intelligent fun.

Entertaining Sunday afternoon stuff.

Yippee-ki-yay! Willis still has the goods.

Val Kilmer is extraordinary as Morrison, holding the centre with a demonic charisma, while Stone recreates the late '60s milieu with vibrant versimilitude.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

A beautiful, exotic and well-acted cultural hybrid, but it’s never as moving as it ought to be.

It may be unfair to compare a film with its stage source, but the fact remains that the film, while retaining a great deal of both humour and pathos, is a less persuasive work and more obviously a vehicle for a starry ensemble.

As frustrating as it is rewarding.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

Eat well beforehand or you’ll be in tummy-rumbling, tongue-hanging-out agony as the merry band cook their way across America. Good fun and happy, filling fare.

Fine performances -- notably from Phoenix -- still don't make this an easy sell. But it is atmospheric, accomplished and intense.

A riot of confused, clever and dazzling moments, Toys is a true formula-defying one-off for which the phrase love it or loathe it might have been coined, and one so audaciously zany that you will be captivated or enraged.

While this doesn't add up to much more than 'It's good to be rich and have friends', it's entertaining, with some choice performances and the laugh-out-loud quotient of a good sketch show.

Dramatic disappointment aside, there is a feel for the unglamorous, demanding lives of the real dancers.

Natalie Wood is stunning and the drama is full of passion but this suffers a little from 60s hollywood style.