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Rock tries playing it straight, but can't help himself; Delpy is lovably daffy; the film has a breezy, honest air.

I started out thinking this is really forced and then I thought it was really self consciously cute and then I thought it was really unfunny and then I got to the point of hating it and then I wanted her to die.

The charismatic cast (particularly Banks and Lopez) manage to find the humanity in their clichd roles but they can't transcend all the surface-level schmaltz on display here.

The highs, lows, unexpected joys and totally expected pains of pregnancy get a comprehensive going over in this consistently funny, warm-hearted ensemble comedy.

Punches its key themes of friendship, togetherness and family amid a hyperactive swirl of jokes, musical numbers and physical gags.

The pop culture references, the dance numbers and the in-jokes we enjoyed in the first film are here for parents and kids alike, as is the irreverent humour.

The actors hold the movie together, particularly Ms. Zellweger and Mr. Freeman, whose characters achieve a remarkable intimacy in a most unlikely situation.

In his third, most accomplished film, LaBute puts aside the inquiry of misogyny that dominated his previous work and immerses himself in a lighter romantic fable about the collision of fantasy and reality, with a terrific performance from Renee Zelwegger

Rock's breakthrough as a director -- a chance for him to grapple openly with his status as a maturing (but still ostensibly immature) comedian.

Until Rock is able to find a vehicle suitable for his unrestrained talent, there'll no doubt be more duds like this on the way

It works as a throwaway joke -- occasionally funny and often shamelessly tasteless. And it also helps if you like Shore.

A missed opportunity.

It's pretty much a toothless dog.

The plot's so much old rote, and the characters have all the personality of protoplasm; but the anthropomorphising of this microcosmic metropolis is wonderfully imaginative, and the dialogue decidedly spiffy.

The animated scenes directed by Piet Kroon and Tom Sito occupy most of the running time and are an imaginative and eyecatching tour of the human body.

Mindless, sadistic violence juxtaposed with rote sentimentality: this is how Hollywood has finally solved the family-values conundrum, the question of how to entertain the blood- and sex-starved masses and be morally proactive at the same time.

It matters little that the film is rife with non sequiturs, nonsense and nihilistic violence, because its heroes are so darn buoyant and charming.