Dave Calhoun

Sentimental and shallow, although just passable as a kids’ movie.

There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.

In the end, Love is more silly than sordid, and even a little soppy in its late – too late – love-filled moments. Many teens will love it; most adults will roll their eyes.

Style over substance doesn’t really tell the half of it: you can bathe a corpse in groovy light and dress it in an expensive suit, but in the end that rotting smell just won’t go away.

This Pan is loud, colourful, busy and full of ideas. Not all those ideas work in sync – but most are bold and some are winningly eccentric.

The relentless gloom can feel oppressive, but there’s plenty of ambition here, especially in the layered storytelling and woozy sense of time and place, with plenty of soaring aerial shots that nod quietly to the all-seeing eye of a computer game.

Beneath the well-tuned atmospherics lurks a schlocky, fairly ludicrous and pretty distasteful yarn that ultimately puts the stress in all the wrong places.

[A] baggy revenge thriller consisting of short violent set pieces interspersed with far too many talky debates about the morality of protecting a killer.

The thriller tendencies here are as half-cocked as its compassion for the struggles of parenthood, even if there are some admirable, if hard-to-watch, moments when Bier refuses to turn away from horror and pain.

The film’s pace barely leaves you time to think – blink and you’ll lose the plot. But there’s plenty of imagination here to honour the spirit of Carroll’s topsy-turvy tales, even if the emotional resolutions are of a distinctly twenty-first-century sort.

This limp, sometimes lifeless business-trip comedy can’t decide whether to aim for teenage boys or their fathers. So it plumps for – and misses – both.

The list of co-stars – Jane Fonda, Octavia Spencer, Aaron Paul – is so impressive that it’s hard to know what attracted everyone to such a soapy, cloying script.

It’s just impossible to get past the core ridiculousness and arm-twisting manipulation of the plot.

Grace of Monaco could have been a camp delight, but it feels too much like a stodgy, outdated television movie to work even as kitsch.

Sean Penn's pompous, ethically bankrupt humanitarian aid drama The Last Face would surely have worked better as a charity single.... Instead, we get this vain mess, a vacuous romance with real human pain as background noise and where the only honest pleasure is waiting to see what misstep it will take next.

David Sington (In the Shadow of the Moon) shows extreme confidence in his subject by revealing the deeper truth in fragments, essentially allowing Nick to deliver a monologue or one man show, drawing us deeper and deeper into his story.

Just the name ‘George Galloway’ – this doc’s presenter and co-writer – will have some vowing to go nowhere near this lively character assassination of Tony Blair. But anyone expecting wall-to-wall ranting and raving might be surprised by it’s relative sobriety.