Lazy but functional tween fare.

An odd one. Rogen's latest clown is an angry, confused man who you never feel entirely comfortable laughing at. There are laughs -- you'll just feel guilty afterwards...

Yayyyy, monsters!

Derivative it may be, but with its echoes of "Speed," "Lethal Weapon" and "Die Hard With A Vengeance," this is a welcome throwback for audiences raised on '90s action flicks -- what they used to call "a pulse-pounding roller-coaster thrill-ride of a movie."

Subtle and unflinching, this is genuine and charming.

An amusing scenario gets a big boost from winning performances all round -- which lift it well above other bride vs. buddy 'triangle' japes like, say, "You, Me And Dupree."

The chemical combustion just isn't there between Julia and Clive, and you can't help wondering if Gilroy wrote this with George Clooney in mind. Still, a glamorous, diverting escapade that over-30s in particular can enjoy.

This is one expensive folly.

An unexpectedly entertaining mixture of good, clean Disney fun with some rather more modern action scenes, lent charm by Johnson’s natural swagger. One of the better family films in a while.

Could have been a little more darkly comic in places but the performances are superb.

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

Okay, it isn't the graphic novel, but Zack Snyder clearly gives a toss, creating a smart, stylish, decent adaptation, if low on accessibility for the non-convert.

Superficially interesting in many ways but this doesn't really engage on a deeper level.

Being over-stuffed and heavy-handed are not even Crossing Over’s biggest problems. That dubious honour goes to an absolute failure to address its nominal subject-matter in any meaningful way.

Unlucky for almost everyone. It's a sad day when a Friday the 13th remake is shown up by a My Bloody Valentine remake – couldn't they at least have sprung for 3-D?

A sombre, slow, but well-paced study of organised crime in urban Naples that leaves a very grim taste in the mouth.

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

Terrifying and beautiful, believable and fantastical, this is one of the best children's films in years and Selick's finest -- better even than "The Nightmare Before Christmas."

A mirthless shot in the dark that misses the target by some distance.

Poor remake of the Korean thriller.

A needless threequel. Note to director: avoid 'rise of the' titles.

Unpredictable and compelling, this draws parallels between Japanese and German cultures in interesting and moving ways.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

Hardly promising but, thanks to James' winningly gung-ho underdog and the fat-man grace he brings to a pratfall, unexpectedly watchable.

An amazing true tale is somewhat diminished by second-hand storytelling: entirely admirable, largely entertaining, and yet curiously hollow.

Handsomely done and beautifully acted, just slightly wanting in a screenplay that leaves questions unanswered about what's behind these unhappy people. And it's ultra-depressing...

Aptly for a film so concerned with time, Button is 13 minutes shy of three hours and just flies by. If this is Fincher selling out, can he sell out more often please?

More ho-hum than ho ho ho.