Anna Smith

Both the well-choreographed crash scenes and the gritty cinematography hint at a better film. Shame no-one took the time to make it.

Predictable and pleasant, with enjoyable performances.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

More time could have been spent developing the bond between the men, but ultimately this is quite gripping: a weepie bromance. You don’t see one of those every day.

It’s slightly frustrating that Winslet’s character Alex is nearly always the one who needs looking after, but the chemistry between them is good, the suspense sufficient and the ending gives you a gentle tug on the heartstrings.

Lazy but functional tween fare.

It’s still a giggle, largely thanks to Tilly’s cantankerous mother (Judy Davis) and the camp local cop (Hugo Weaving).

The Hitman’s Bodyguard is not exactly killing it, but coasts on the charisma of its central stars.

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

The highschool hijinks may entertain the young, but those more familiar with the Bard will recognise this as a wasted opportunity.

This gets an extra point for an exciting action finale, but loses several for a hero who may try your patience well before then.

The by-the-numbers plotting is a little clunky but there's fun to be had in the cast's easy chemistry.

There’s plenty of action—and laughs here and there—but when a repeated cameo from Elton John is the best thing in a movie like this, you know you’re in trouble.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

Home Again is too superficial to maintain tension as a character-driven drama, and not funny enough to overcome an aimless plot and confused tone.

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

After a creaky, clichéd start, Need for Speed picks up a bit. The script is still as corny as hell, but the chase scenes are pretty spectacular.

Fun musical numbers and cartoonish humour give way to a bland sermon about the evils of the music industry.

Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

It’s predictable and troubled by continuity errors, but as undemanding romantic comedies go, it’s a pleasant enough watch with a heartfelt script from debut writer-director Tom Gormican.

Sporadically amusing but rarely inspired.

"Salmon Fishing In The Yemen" and "Chocolat" man Hallström is an old pro at navigating this kind of undemandingly dramatic yarn and does a pretty fine job with Sparks' story.

It’s well performed and a periodically fascinating study of Bradford’s seedy underbelly that’s rarely seen on film

A low-grade comedy that'll have Jonathan Swift turning in his grave.