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Whipping along at speed, with elaborate camera movements and rousing speeches, this knows how to engage a crowd. It's corny, of course, but a guilty pleasure: romantic, diverting, with mildly amusing modern gags.

It's an enjoyable romp and Heath Ledger is a likeably vulnerable hero and Mark Addy a good-natured realistic foil.

It isn't the device that's so crude, but the execution, which turns Nash's persecutory demons into nuisances that won't leave us alone.

Crowe pulls out the stops, but he looks too bullish and controlled for such a pitiable victim.

A sweet, sentimental story with a sting in the tail.

The story is a gentle depiction of harsh times that works best as a coming-of-age parable, not so well as a historical drama.

While this farcical thriller can certainly be classified as a no-brainer, it is only on the grounds of sustained mindlessness that the tag truly sticks.

A bland, badly directed, star-driven cinematic molestation of Jrme Salle's tight-as-a-drum 2005 French thriller Anthony Zimmer.

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.

A stupendous production, Master and Commander satisfies as richly as a book might, immersing us in a world of its people and its places.

Thanks in no small measure to Perfect Storm designer William Sandell, this handsomely mounted actioner exudes the authentic tang of salt, sweat and gunpowder.

Readers who want to exercise their imaginations may prefer to stick to the written word. If a story gets boring, you can always skip a few pages and move on. In the cinema there isn't much choice.

The message is so muddied by the film's dizzying changes in pitch and tone that a lot of young readers aren't going to know what to think.

Bettany is a great actor who does melancholy very well, he also has a sense of mischief. It would be nice to see it shine a bit before it, too, fades to grey.

Its visual style veers between bleached desert tones and slimy undercover dankness, but the 3D version is undistinguished.

Heaven help these fallen angels.

Inane dialogue, a bad, derivative storyline and evil angels make up this overblown, poor-man's would-be Terminator in which an exploding upside-down crucified man is one of the low points. Just when you think the film couldn't get any worse, it does.

There's nothing static about [Von Trier's] technique, but everything else about the movie is dreary and closed off.

What Lars von Trier has achieved is avant-gardism for idiots.

An enjoyable little crowd-pleaser with likable leads and a few good laughs.

All in all, it's rather pleasant, but nothing else.

Taut Wall Street drama takes an inside look at financial and human meltdown.

[It] gives us villains that, rather than being sympathetic, are well-argued and reasonable. It gives us heroes that, whilst idealistic, make immoral choices for their own betterment. Margin Call is complex, fury-inspiring, and thoughtful.