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No clever messages here, just bang-on romance and action, with another fresh twist on 20th-century history woven in for the kids to dive into after the credits have rolled.

It doesn't try too hard for irony or style; the comic-book sensibility remains pure, square, and happily stupid.

We're left with something gorgeous, turgid, and emotionally impenetrable -- less a movie, more an Imax screensaver.

Any kids' film that features owl zombies, Hitler Youth-esque adversaries and an opening fifteen minutes that evokes Pier Paolo Pasolini's Salo deserves credit for being ballsy.

More feet, more songs, more music, more characters ... more everything, but less of story than the original. The heart of the film is scattered, but it fails to connect as satisfactorily as it did before

Youngsters and their families will be captivated by the show and the superb techno-whizzery never ceases to amaze

If you're 14 or younger in age or sensibility, you may giggle at some of the bons mots.

Worryingly, the longer this movie goes on, the harder it is to care.

In this roaringly comic and powerfully affecting road movie, Terence Stamp gives one of the year's best performances.

It's too bad that the requirements of plotting require movies like this to crank up the event count, when actually what works is just the daily minutiae of Bernadette's life.

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.

The Australian outback, the setting for most of Last Ride, an extraordinary film for which the locale is a quiet, almost secret catalyst.

The title more or less gives away the film's design, but the predestined journey is taut and tragic nevertheless.

This reviewer for one, hasn't been able to face a pork chop in the months since, and is still laughing at the vibrant joyousness of this delicious comic fable.

It's enough to turn you vegetarian.