It’s no masterpiece and admittedly slight at 85 minutes long. But Idiocracy is that rarest of things in this age of lazy laughs — a gutsy comedy with something to say. More importantly, it’s funny.

Fans of Broken Lizard's previous work will enjoy this beer-fuddled effort; for anyone else it has its moments, but is best watched through beer-goggles.

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.

The people do the talking in this rage-fuelled doc and only the stone hearted will fail to be moved by the resilience of the affected and the inaction of their government.

It’s the sort of picture you'll either queue all night in the rain to see twelve times or avoid like a Wayans Brothers Retrospective for the rest of life.

Mildly amusing at best and a criminal waste of a great concept.

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.

Freundlich's intelligent, very funny take on male-female relationships manages the not inconsiderable feat of being both jaded and appealingly fresh.

Gritty and raw with some decent performances, this is not for the faint-hearted.

The breakneck pace, the seething sense of menace and the unflinching attitude to sex, drugs and violence coagulate into a nastily authentic take on the seediness and venality of modern villainy.

Witty and articulate but the continual editing devices can distract from the momentum.

An unrewarding experience that won't scare you, but might make you think twice before opening email attachments.

Just wonderful with its offbeat but wholly credible storyline, down-to-earth style and exceptionally fine performances.

A black comedy with flashes of genius, but let down by a sharp slide into chaos.

Even without his box of political tricks, Oliver Stone remains the foremost cinematic shrink for America's distress.

Brutal, bloody, terrifying, astonishing... And so tense it'll leave you aching. The most significant Brit chiller since "28 Days Later."

A topical study of writers' deceptions, which also explores issues of identity and the blurred lines between fantasy and reality, The Night Listener is intriguing, thought-provoking and harrowing by turns, with fine central and supporting performances and a richly satisfying feel.

On the Ferrellometer, Talladega Nights sits just above "Kicking & Screaming," when it should be redlining it up there with "Anchorman."

Refreshingly free of the gangs, guns and drugs clichés associated with the milieu, this is a satisfying, spicy little picture.

Bearing all the Mann hallmarks, this is visually enthralling, relentlessly stylish crime drama. A little too languorous for its own good at times, but still vastly superior entertainment.

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

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.

Despite the odd moment of visual bravura, this mockumentary is too aware of its own satirical daring. Consequently, it's never as dark, dangerous or amusing as it thinks - and the soundtrack is diabolical.

Sharp, very funny, surprisingly moving and rejoicing in great work from the entire cast, this sparkling little gem takes the family road movie to unhoped-for heights of hilarity and humanity.

Kevin Smith's most enjoyable film since, well, Clerks lacks much of its predecessor's outsider edge, but you'll probably be laughing too hard to care.

There is much pleasure to be had watching a born storyteller juggle more balls than even he can carry.

A scary, sharp, funny movie, this is the best kids’ flick of the year so far.

This looks and sounds superb. Isabelle Huppert and Pascal Gregory are splendid. But the over-archingly smug sophistication of the enterprise robs it of some much-needed human interest.