Olly Richards

To call WALL•E Pixar's best film would potentially denigrate films that deserve no scorn. But this is their most ambitious undertaking since "Toy Story" and storytelling of such charm and visual wit that it can stand proudly alongside the studio’s best. Absolute heaven.

The boys (now in blue) have done it again.

Neither good nor bad. Scales dizzying new heights of okay. Aims for mediocrity... and nails it.

Judged against previous form, this is not Pixar firing on all cylinders, lacking the sophisticated comedy we've come to expect. Judged against fare from other studios, however, it's a triumph.

If it were any more manic you’d have to put it on Ritalin.

There are thrilling flashes of Gilliam getting back to top form here. A scrappy movie with more ideas than it can control, but one born out of a passion and determination that are wholly infectious.

A small, strangely sweet tale well told. But this is all about Mol, who puts in a performance that gives her a very early lead on next year's Oscar race.

A crushing disappointment for fans and a scuppered opportunity for a cinematic event. That the first book has been so mishandled doesn’t bode well for the (already greenlit) more complicated ones to come.

A dazzling experiment that paid off immensely, this is cinematic pleasure at its purest. One caveat: If they ever make a sequel, we’re taking two stars back.

A promising idea that never develops beyond that.

The best animated movie of the year and only a whisker shy of the brilliance of Wallace and Gromit.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

It suffers from ADD, but there's some terrific stuff in here. Leaving 15 minutes from the end and saving yourself a lumbering coda may improve enjoyment.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped.

The movie that brought a hip new sensibility to animated features and which still stands up in the age of Pixar and DreamWorks thanks largely to a blistering improv turn from Robin Williams.

A lean, atmospheric and acutely creepy little horror pic - nothing more, nothing less.

It’s essentially, y’know, for kids, but the dedicated fairy tale fan will have tons of fun spotting all the references. Adams, meanwhile, gives one of the comedy performances of the year.

If there's a criticism to be made, it's that the script doesn't push itself far enough with the moments in which it excels.

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

If you pay out money to see this, you got fleeced.

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

This is actually a very middle-of-the-road movie.

While cynics may find it twee, Mendes fans should greatly enjoy this (gently) surprising change of direction. Go in with the right frame of mind and you’ll leave with a big, goofy grin on your face.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

It starts off very sprightly and witty and maintains a high giggle-count throughout.

Crediting its audience with emotional intelligence, this rises well above your usual rom-com-dram. But if you’re planning on seeing it with your other half, be warned: it might invite some uncomfortable discussions afterwards.

There's more here for the under-tens than over-, but it's still charming, amusing and energetic enough to win you over.

Like its slack-jawed clones, The Island is full of energy and incredibly pretty but burdened with only the minimum of smarts.

If you're a novice, this is a plucky introduction to Whedon's world and the most fun sci-fi of the year. If you're a devotee, this is the magnificent return you've been praying for.

While lacking the richness of its source material, it remains an enjoyable, immoral and sometimes beautifully Gothic tale.

Highly likeable, pleasantly unpretentious and plenty amusing.

Filmically it's more of a pleasantly diverting kick about in the park than a 90th minute back-of-the-net at the world cup final.

Intelligent, classy and skin-crawling. You won't see a better acting masterclass this year.

Ror all its cleverness, Emily Rose does have its hokey moments.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

The dialogue is intelligent, but the humourlessness -- and the fact that most of the cast could use a good slap -- results less in involving drama and more in the viewer being held hostage in a 90-minute therapy session for the well-dressed and narcissistic.

Taut, clever, and fronted with two excellent performances, this is a clever choice for Jackson's first step into mainstream filmmaking.

Witty, wonderful and wildly imaginative, Burton’s first proper ‘family movie’ since "Pee-Wee’s Big Adventure" delivers a sugar rush that’ll last for days.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

The kind of film the tabloids will call to ban. Don't take that as a reason to see it.

The young cast, which resembles a collection of Gerald Scarfe illustrations, acquits itself reasonably well, but is too ordinary to be heroic. And, once action is introduced into the mix, Barry Levinson'’s direction falters.

Terrific performance alone can't mask the lack of originality.

A poorly written, directed and acted imitation of the first. Not funny, not clever and, crucially, not cool.

As kiddie entertainment it works well, with simple humour and lots of action. But there's not a lot to appeal to any accompanying adults.

With its hackneyed storyline and critical derision in the US, whispers were that Honey was to be the new "Glitter." It's not nearly that bad, which is a shame since it just skims the embarrassingly blind enthusiasm of which camp classics are made -- instead bouncing along the path of bland and forgettable.

It’s Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built.

Persevere through the sluggish first two acts and you'll be rewarded with a touching relationship perfectly acted by Lewis and Breslin.

Clever, original and terrifically witty.

A tragic waste of acting talent, with nothing new to say. Can we please now politely close the door on middle-class repression before we get really angry?

As a chance to see the celebrated Broadway show with the original cast, this is a treat. As a re-interpretation of a classic, though, it's a disappointment.

It's Sarah Polley through and through: slightly too glum for its own good, but reeking of quality and feeling.

Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

Fleetingly enjoyable in very short bursts, this is the most cynically constructed event movie in recent memory, its heart purely in its wallet. A fantastic bore.