In spite of two great performances, this is a muddled affair.

Anne Hathaway delivers another likeable performance in a tweenie treat that has enough smarts to keep older viewers engaged, too.

It has managed, admirably, to strike a balance between the wholesome 'school nerd blossoms' fairy tale and the gross-out comedy that is now a teen movie standard.

This not being Hollywood, Michele and Filippo do not benefit from life lessons learned as exemplified in coming-of-age pap like "Now And Then." The sweet life, this ain’t.

Hellboy might not have the name-recognition factor of the Spider- or Batmen, but Guillermo del Toro brings the audience swiftly up to speed on artist-writer Mike Mignola's comic book anti-hero.

Highly likeable, pleasantly unpretentious and plenty amusing.

Disappoints due to poor structure, flimsy characterisation and insufficient wit.

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.

Sweet, formulaic entertainment, but occasionally clunky.

It’s but a shadow of the original and a lesser entry in their (Coens) collection, but you are still blessed by flashes of black heart.

Argue that von Trier's latest is theatre and not cinema. But at least acknowledge that Dogville, in a didactic and politicised stage tradition, is a great play that shows a deep understanding of human beings as they really are.

The resulting portrait seems cruel at times, and Bingenheimer's little-boy-lost expression can be heartbreaking.

Themes of self-acceptance and inner strength seem a little out of place in a movie featuring a hound farting at phantasms.

Not particularly funny, or even very sunny, but it is Charlie Kaufman’s first whole screenplay, and as wonderful as it is weird.

It's not hard to figure it out, but Caruso manages to throw in some tense moments that almost -- but sadly not quite -- make up for the film's daft ending.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

The result is both audaciously amusing and provocatively sophisticated.

Being a Mamet, we expect superb dialogue and twists, but we also get refreshingly compact action scenes, even if the climactic airport skirmish is on the pat side. A lesser Mamet, then, but still compelling.

Goofy and easygoing, Starsky & Hutch is not exactly politically correct, but you'd be hard pushed to find a single mean frame.

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.

The muddled mix of documentary rawness and fable-like naiveté prevents it from fulfilling its parable pretensions.

Club Dread still thrives on the group's enormous charm and the determined, genuinely funny comedic approach of knowing pop-culture winks and a zaniness that marks them as pleasingly Pythonesque.

The movie may dole out a few guilty pleasures, but you won’t believe a word of it.

A tormented movie about torment; loopy, over-reaching and occasionally suspicious. Simultaneously, it is a daring artistic endeavour.

Throw in the blatant signposting of every plot turn and mood shift, and what could have been a gripping tale becomes hammy and overdone.

Lola deserves detention; Lohan deserves better.

Like many of its ilk, this lacks both the wit and cheeky charm of the Pie franchise, subsisting instead on trite gags that dredge up every European stereotype from football thugs to French mimes.

Bland, but wholesome.