Yet for all Vaughn’s attention to stylized details, I noticed a number of obvious continuity errors throughout to which Vaughn seems blind.

The outcome is no great surprise, and plenty of the gags feel as though they were meant to be throwaways, but Ted 2, exactly like its predecessor, has plenty of heart, which makes all the rest of the black-dick jokes marginally more tolerable.

Proving once again that no matter how many times you remake a film it's tough to top the original.

Though Foley is adept at handling the action, the film is a grim washout peppered with too many earnest, good-cop/bad-cop conundrums and not enough solid police work.

The movie’s disjointed weirdness begs the question: Was Hess ever in the driver’s seat?

Both the yuks and the yucks are plentiful, but by the time the film reaches a montage sequence of these two boneheads (well, one bonehead, one dope) laying waste to Los Angeles gang members and other wastrels in an attempt to satiate Bart's thirst for the red stuff, you're more than likely wishing you were watching Simon Pegg and Nick Frost in something else entirely. The similarities between the two horror comedy pairings are just too obvious to be ruled out as coincidence.

Years ago, when Allen's inimitable comedy style still seemed fresh, Scoop may have joined the ranks of "Sleeper" and "Take the Money and Run" as a comedy classic. Today it provides a pleasant diversion.

Is this the start of a new subgenre? Probably not – 2009's "The Unborn" traded in Jewish mysticism, too – but it's considerably creepier than it has any right to be and, to be sure, righteous rabbis can be pretty terrifying in and of themselves.

It's the best date-night movie to hit the screens in a while, which, considering the competition, is very faint praise.

Some of the interplay between Branagh and Dench as a refamiliarizing couple is also delightful. However, apart from fleeting pleasures, All Is True is mostly a goodie bag stuffed for Shakespeare completists.

This return to Wonderland is a dull outing, about which it can be said that Alice doesn’t live here anymore.

There are only so many pratfalls you can string together sans storyline and keep a ball like this rolling, and unfortunately, too many of Bean's schticks were old news by the time they first aired on PBS.

Perhaps the more appropriate question to put to this remake would be "What the hell’s the point?"

By film's end, you'll wish they tossed Allen in the rainforest and left him for the leopards to snack on.

Paul Green seems more interested in what rock school can do for him than for the kids.

Tamyra, Tamyra, Tamyra. I didn't recognize you at first!

A wistful, humorous, but ultimately fluffy look at those halcyon days, before punk, junk, and the onslaught of the Eighties.

Never transcends its clichés.

Certain touches resonate and remain memorable long after the film’s conclusion – I’m talking to you, creepy robo-geishas – but for all its CGI bells, whistles, and Johansson, this simply can’t compare to its (highly recommended) Japanese forebears.

It’s a lot, but also very little: The action amounts to multiple variations on “try not to get wet, or caught out” to push along a plot that dispenses the usual life lessons about being brave and valuing friendship.

It's a pleasant enough ride, certainly, but in the end it also has all the wicked emotional punch of Bill Cosby on Quaaludes.

For me, that low-tech, Fifties, camp charm wore a mite thin by the second half-hour, but then, I'm not the target audience, am I?

Adults may discover, however, that when they get to the center of this particular world, they find no real there there.

Like the jelly-bean sugar high in one of the more manic running gags, it’s all terribly exhausting in the way most movies tailored to the under-10 crowd can be.

The Exception’s line is not an easy one to walk, this marriage of soapy melodrama and real-world events, and with Courtney leading the parade, it’s destined for failure.

Boasting a terrific cast, the movie is unable to parlay its abundance of comic talent into an abundance of original comedy.

Flying Swords of Dragon Gate isn't as much fun as the director's previous film – the wondrous "Detective Dee and the Mystery of the Phantom Flame."

There's just not enough real heart to go along with the cutesiness.