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"Toy Story" goes Shakespearean in this animated retelling of the tale of the star-crossed lovers of Verona.

Uneven is the course, as the Bard might say, but the ride is plenty of fun.

Emily Blunt joins the ranks of great screen monarchs.

This Victoria is not particularly Victorian, but then she is young; and everyone wants a piece of her, politically speaking. Emily Blunt is lovely and strong-minded as the Young Vic.

Breaking up, jealousies, match making and a bid for second chances are the themes of this vibrant and uplifting film that explores life, love and desire.

The Jane Austen Book Club, based on Karen Joy Fowler's bestseller, offers a distinctive vision of hell - a plane of being where there are only six novels that matter, and they're consulted like all-purpose agony aunts.

A largely entertaining and compelling paranoid thriller only let down by its final scenes.

This mind-meld of sci-fi thriller, morality play and passionate romance is worth seeing, mostly for the palpable chemistry between the lead actors.

Snappy, sarcastic, implausible caper that looses almost all momentum 1 hour in. Also, how do you feel about Bill Nighy and Emily Blunt making out? If you just threw up in your mouth a little, you might wanna avoid this.

The film has to fly by its wits -- and its witty lines -- and by the charm of its stars. This it does, just barely.

Joe Johnston turns a classic monster into an anaemic bore.

The only thing scary about Joe Johnston's The Wolfman is that it exists. The fact that people, nay professionals, spent several years working on this picture genuinely upsets me.

It's hilarious and painful as only real situations can be, and Hedges directs his excellent cast, with sensitivity and wry humour.

It's amiable enough, but the ickiness levels are too high and Juliette Binoche always looks uncomfortable in this shallow-end material.

Unfortunately, these characters belong to different worlds that don't meld, cartoonish political satire and dopey romcom.

The weakest part of this film is the ferocious government PR chief, played by Kristin Scott Thomas, with much lip-pursing and eye-rolling, but nothing funny or believable in the script for her to say.

The passage to ex-rental DVD bins will be swift for this lethally pretentious bit of low-rent schlock.

Ropey, derivative and very, very boring horror-thriller.

Yes, it's a B movie sci-fi thriller, but not many prestige pictures have this much going on underneath the surface.

That first hour cooks. And the second hour brings Emily Blunt into the story, which is a fine thing for any second half to offer.

Segel and Stoller could - no, should have been bolder: their leading lady deserves it.

It brings a light touch to modern romance, and the fact that commitment phobia, so long a male prerogative, is now being claimed by women.

Movies that start well and end badly occur often enough, and yet even knowing that is no preparation for what happens to Your Sister's Sister.

It's in the completely natural interactions between this gifted cast that the film really hits its groove.

Jeffs makes a good fist of the direction and Blunt proves that she can do comedy, but it's Adams's comforting, charismatic central turn which really gives the film its lift.

Ultimately, the film is too neat, and too cloyingly sweet to tackle anything resembling real life.

A perfectly diverting, perfectly forgettable summer fling.

Turns out to be a triumph of unexpectedness in its slimmed-down story of two teenage girls, one middle-to-lower-class, and the other upper-class.

This is not a rare movie, but it does have a warm red center. It's likable, and its appeal grows as it recovers from a shaky start and finds its footing.

A pleasant enough comedy in the My Favorite Year mold.