Carrey's back on top slapstick form and brews up great chemistry with Leoni.

Trouble is, James Ivory just doesn't do sleaze. The tawdry milieu of taxi dancers, pleasure-seekers and spies rings hollow.

Although in danger of being unable to decide what kind of film it wants to be, a well-written script and well-judged performances make this a family outing worth taking.

Grizzled Texan Tommy Lee Jones has made an exceptionally moving, surprisingly funny, often beautiful film, packed with unforgettable moments and note-perfect performances.

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.

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

Utterly implausible and clunkily directed. Rent "Fargo" instead.

Unlike its newly trim director, Kong does boast some flab around the middle but by the final reel there’s little doubt that what could have been Jackson’s folly is a triumph, the kind of romantic action spectacle that makes the big screen silver and provides box-office gold. Puts the prime in primate.

A beautiful, exotic and well-acted cultural hybrid, but it’s never as moving as it ought to be.

The real revelation here is Heath Ledger as the bruised and sometimes brutal Ennis. His tortured secret is the tragedy and the ecstasy of this powerful and moving film, a smart study of relationships that could but can't and never will be.

It's a more dynamic adventure than Potter IV but lacks the majesty and richness of LOTR. Still, it's an enjoyable adaptation and good enough for us to welcome this new franchise.

A wonderfully uplifting and charming biopic that's sure to win over all but the most mean-spirited. And the motorbike races really rocket, too.

Depressing and trivial.

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

A decent enough little B-movie which delivers some pleasingly weird violence and endless plot reversals. But there’s still a mild sense of pointlessness to the whole thing and the feeling that in different hands it could have been much better.

Funnier than it has any right to be, thanks to Reynolds’ charisma and Faris’ bubbleheaded blonde.

Cards on the table: rock operas pretty much suck except for "Tommy."

Amazing – a movie that somehow manages to be both irritatingly familiar and instantly forgettable.

Demanding, even confusing at times, this is required viewing that requires your full attention.

Terrific effects and considerable charm, but, once again, you can't help wishing the filmmakers had been bolder with the adaptation.

Witherspoon's June is a pistol - a sugar-rush of screwball energy and cornball Southern sass that's meticulously earthed with grace notes of sadness.

This has charm and glamour but little profundity.

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

Not as divine as Ang Lee's "Sense and Sensibility," but engagingly comparable to the Gwyneth Paltrow-starring Emma and vastly superior to Mansfield Park.

Gloopy family drama meets Hollywood cod-spirituality in a movie that’s defeated by its over-ambitious scope.

A splendid performance by Naomi Watts holds together this smart and astutely restrained lampoon of life in the Hollywood basement.

It's bad enough to ban on purely artistic grounds.

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