Yes, half dressed and pretty faced Harley Quinn is also the highly intelligent psychologist Dr. Harleen Quinzel. She's been broken and driven insane by the Joker, but she retains her quick wit and the ability to 'read' people like books in an instant. This three-dimensional portrayal is par for the course, as all the characters are this complex and interesting. Despite there being ten of them, the film manages to show us them all in detail.

Will Smith is a fantastic Deadshot. The assassin who never misses a shot is not only a dead shot, but a deadpan snarker. His depth comes from his family; he wants to provide for his daughter by doing the well paid job that he's incredibly skilled at, but at the same time he wants to be a less villainous person to earn his daughters respect and moral approval.

​Likewise, Diablo is conflicted and is actually a reformed gangbanger when we meet him. His powers and reputation come before him, and his face tattoos make him very visible, but he's rather not hurt people any more. Boomerang, on the other hand, is an unrepentant jewel thief who refuses to take any of it seriously. He enjoys killing and takes opportunities for beer breaks, and just wants to escape and go back to stealing diamonds. Both grow as characters through the film, revealing backstory and changing their plans for the future.

Making way for the amount of characters are being introduced, the plot is not overly complicated or hard to follow, but does have some twists and turns. The mission and villain of the film was unexpected, at least to me, and there were plenty of moments that really took me by surprise. Perhaps a bit disappointing for a huge DC fan hoping for their favourite parts of the many Suicide Squad comics, it's still a great watch and a sign DC are really pulling their finger out to compete with Marvel.

There are plenty of callback and references to the original: Keep your eyes peeled for cameos, quotable lines from the original, and Slimer and Stay Puft. The little moments are satisfying for older fans, and aren't too over-the-top so wouldn't stick out awkwardly to newer viewers. The creation of the ECTO-1, the name "Ghostbusters" and the logo are all amusing, too, as in between the big laughs are constant giggles.

A big part of the film is the genderswap aspect, and they make good use of it. The Ghostbusters have a ditzy blonde secretary who's not competent enough to answer a phone but is very much eye candy, swapping the the gender for that role with the delicious Chris Hemsworth's Kevin. While this may bring cries of 'misandry', it is more a reflection of contemporary female stock characters. There are ironic misandrist jokes, which will appeal to the dry humour of many adults watching for the female empowerment. It's worth mentioning misandrist joke don't have the social weight to cause harm that misogynist ones do; this is an argument for another day and another person.

The plot itself is multilayered but not complicated. Lecturer Erin Gilbert loses her job at a prestigious university when old friend and colleague Abbie Yates publishes the paranormal science book they wrote year before. The baddy, Rowan, is the archetypal nerdy outsider seeking revenge on the world as a whole, and is trying to release every malevolent ghost into the world. The Ghostbusters are trying to investigate the paranormal with genuine scientific interest while the media are portraying them as fakes and non-scientists.

Overall, this is a really important film in the history of women in film, passing the Bechdel Test, the Sexy Lamp Test, the Mako Mori Test and the Furiosa Test. Definitely a must-watch for young girls, and for any men or boys who don't know why female media is important. It's a great film for all Ghostbusters fans, and a really good laugh.

There isn't much to 'make up' for this harmful garbage, as the plot is riddled with plot holes, obvious funny situations are glossed over, and some of the situations are simply... boring. A massive plot hole occurs with Saffy's daughter; she's a main character until she isn't needed anymore, then disappears with no explanation until much later, and isn't really even seen again. A great joke is set up every time Partsy and Eddie have to hide from people who would recognise them, and each time the film doesn't really 'do' anything with the situation; nobody talks to them while they're in disguise, nobody looks at their clothes while they're mannequins, and nobody notices them walk through the swimming pool. The heavy handed commentary on the silliness of the fashion world is just dull, as the world hams it up mourning Kate Moss and models whose job it is to walk perfectly in near-crippling heels cry over a stubbed toe.

There are plenty of big names in the cast, which would normally be impressive as the characters aren't fighting for screen time or being awkward distracting cameos. Unfortunately, the bad script and disgusting attempts at jokes just make you wonder if the actors bothered to read the script before agreeing, and noting down all the stars who chose to play transphobic characters. It's very disheartening to see so many famous people standing behind this.

Overall, my less socially-critical mother who brought me up on the TV programme and others like it gave it a minus rating and it was two hours of my life I'm annoyed I'll never get back.

It's fairly easy to stereotype animal personalities, but the pets and wildlife avoid, play with and subvert these stereotypes. The hamster is stupid and not cutely behaved, the pig is a thug and his appetite doesn't come up, and the Pomeranian dog is brave and her princess-iness is played with. The 'secret life' part comes in nicely with a posh man's poodle, which switches his classical playlist for some metal, and the constant party that the elderly dog's home is. Obviously, there is only one pet cat shown, and her 'secret' behaviour is exactly what a cat does when you're there too: She eats a chicken from the fridge and comes and goes as she pleases. The daily lives and interpersonal relationships of dogs is far easier to play with, after all. The way the dogs see their relationships with their owners is interesting, and the love interest doesn't feel shoe-horned in or too predictable.

This is a children's film, and the danger and violence are on a child-acceptable level. The vague threat of the Animal Pound, being bitten or eaten without gore, and drowning in a crashed car are the threats, and the only violence we see is the bloodless kung-fu style fighting and an over-the-top bloodless slapstick squishing. The humour regularly plays into juvenile interests, with some poop jokes and silly lies.

Luckily for the adults, there are some good jokes aimed at adults, including an obvious Monty Python killer bunny reference and a subtle Some Like It Hot "nobody's perfect" shoutout, and some subtle references to humorous pet behaviours like the cat sitting in a small box and the hawk's trouble with not eating the smaller pets are quite amusing. Compared to many adults reactions to Illumination Entertainment's minions, being amusing to adults is something amazing.

Especially after the recent mess of disability representation in serious adult media, the way the elderly, disabled dog is portrayed is fantastic. His doggie-wheelchair is a minor point, part of his travel decisions, but not a plot point or any sort of character flaw like it can so often be shown as. His vision impairment is used for a couple of jokes, as he has an assistant to lift his baggy brow to help him see, and sees the cat character as very attractive if blurry. Both are most likely age related, and only humour in what they cause him to do, not in themselves.

With all of these coming together to make a really great film , it might be a sign Illumination is going to be a very big player in animation. Either way, this is a great film for all the family.

There are fight scenes galore, so there is some violence. With a major character completely unable to cope with gore and a 15 rating, however, it isn't unbearable. The stunt coordinators and choreographers worked well, as the fight scenes are exciting and aesthetically pleasing. A huge multi-character battle, most likely included for the sheer enjoyment factor, is outstanding and makes the most of the way fights can be choreographed. Some great slow motion moments and prop use make it an ironically beautiful scene.

Back to the haemophobic character, Samuel L. Jackson's Valentine is a complex and interesting villain. Blood phobia, a lisp, and an understandable end-goal, he is far from the illogical and two dimensional villains of many spy and crime films. Eggsy is, likewise, a well rounded hero. His homelife troubles, distrust of the posh Harry and relationship arcs with other characters (including a very cute little dog) make him easy to identify with and like.

Of course, this is not a high brow or modern classic film, but it is a very good and enjoyable afternoon film. It might not become your favourite but it's definitely a good choice for an entertaining movie night. It could have been the lack of expectations I had, but I really think this is well worth the time to watch on an otherwise uneventful day.

The intelligence of this film and the way genuinely funny moments are treated as non-events by characters is what makes this such an outstanding film. In between amusement, I found myself pondering the serious possibilities the film presents. Could one person cause a war like that? What would happen if nuclear bombs were used again, now so many countries have them? How safe are the safety measures? The opening ensures us what follows is impossible, but it's certainly a scary 'what if'.

For a Kubrick film, it doesn't have his signifying absurdity and the plot is easy to follow. He is a master directer and the use of lighting, shapes and angles is masterful. The dramatic light in the war room and the large, round table add to the drama that unfolds there. The bright naturalistic light in other scenes contrasts with the utter darkness of the situation.

Of course, you may just be looking for the classic with the iconic bomb-riding rather than a clever piece of historical satire. Yes, someone says "You can't fight in here, this is the war room!"; yes, Dr. Strangelove fights with his arm as it moves on it's own; yes, the cowboy-hat wearing fighter plane Major goes down with the bomb. You'll see those and more outstanding iconic moments when you watch this iconic film. If you haven't seen it, you can tick it off of your to-watch list.

The interesting part comes in it's three settings of the kidnapping location, the film studio and the in-film scenes. The way the acting and action changes between real and fake are clear, but the changes in lighting, such as the colour, shadows and tone, give the visual 'feel' a noticeable difference. It's easy to tell when scenes on film sets are being seen by the characters and when they're being seen through the studio's cameras.

The contrast between real and fiction in the studio sits next to the contrast between the studio and the kidnapping setting, too. While some things are perfect comparisons, such as a dark outside night kidnapper scene and an overly well lit nighttime film scene, some are amusingly matching. Some characters are as 2D and predictable as you might think, and then at the same time three dimensional and surprisingly complex.

Just as the film doesn't have unneeded sex or violence, as the first ever Coen Brothers film where no one at all dies, it has a sense of whimsy and a gentle sense of humour. That moment in the trailer with the pronunciation of "oh that it were so simple"? Part of a long scene of funny failures and frustration, playing out slowly and surely.

Altogether, Hail, Caesar! is great as a comedy and as a mystery, and a great addition to the filmography of everyone involved. Anyone can watch it and probably should.

I'll get it out of the way; one of Wade's wisecracks is to a super-strong woman, and he "calls wang" on her surprising strength. It's blink and you'll miss it, and he is just throwing relentless insults to rile his enemies up, but it is there and it is disappointing. It is the only issue I noticed, however, so its still a rare gem in mainstream cinema. The gore is all over the place, including Deadpool cutting off his own hand and the gross view of his suited up broken hands and foot flopping around. It's all in context, but hide if you're squeamish.

Deadpool's cancer, injuries and low points in life give us a taste of the depth his character has in the comics. We see the humour covering his emotional pain, we see the way he's grown used to the pain but still feels it, and we see that him being a rude, sexual serial murderer and him being a sweet friend and champion of the underdog are complimenting characteristics.

If you haven't heard of Deadpool, this is a fantastic introduction that throws a complex and different type of superhero character right in your face from the get-go. You should be ashamed and go look him up, but you can go straight ahead and watch this film. If you do know Deadpool, whether you vaguely know him as that sweary guy who talks to the reader or you have a poster of that time he made all those pancakes on your bedroom wall, you'll be seeing something worth seeing.

In relation to the time he made all those pancakes, the only other superhero characters in the film are two X-Men, and a reference is made to Cable in the post-credit scene. In the hope of sequels, there is hope for characters such as Spiderman and his relationship with him. 

The romance subplot is a well-fitting subplot and the driving force behind the main plot; he takes the risky cancer treatment for the sake of his love interest and she is his a major part of his planned goal. It made for the perfect alternative Valentine's Day film, and it'll be a great date-night movie for anyone who hasn't seen it. It's a great superhero film too, so don't worry about your own love interest. As the viewer, you're focused on the man in the red suit anyway.

The soundtrack, all by Cat Stevens, complements it perfectly; you'll walk away from this film with 'If You Want To Sing Out, Sing Out' happily stuck in your head. Just as the song gives a bettering message, the viewer can be bettered by Maude along with Harold. The abandon that she enjoys life with is contagious and her reckless antics with make you giggle at the very least. Watching her borrow Harold's car may even be the highlight of the film.

Likewise, the dark comedy of Harold's suicides are as funny as they are awful. The sight of his mother completely ignoring the fact that he appears to be dead, carrying on with conversation and chores as if he were simply reading a book, reflects his disinterest in the serious adult aspects of life. At the end of the film he may or may not be ready, but he certainly has a new outlook on life.

This film deserves its cult classic status, and is definitely worth at least one viewing. Even if you don't like it, you can tick it off the list.

With Sadness as one of the main characters and a stressful time period as the human characters focus, be prepared for some sad scenes. The film is great for showing what depression really feels like, both in the overload of sadness way and in the dulled, no-emotions way. As well as this, the interaction of the five emotions and the complexity of them all is clever and makes a lot of sense; for example, Disgust is also in charge of Riley's feelings about looking good and while Riley is lead by Joy, her stressed and grumpy dad is led by Anger.

The fact that all the characters explicitly have the same five emotions controlling their mind makes it easy to see all the characters as similarly relatable and complex. The grumpy dad is not just grumpy, as he has Joy, Sadness, Disgust and Fear, just like Riley. A ending scene shows the minds of other characters, including a dog with five dog emotions pressing a simple keyboard and a cat with five cat emotions running amok and wandering over a keyboard as detailed as the humans. It's moments like this that keep what could have been a very upsetting film funny and lets the adventure scenes feel exciting rather than nerve-wrecking.

The mind-as-controlled-by-tiny-people idea is hardly new, but the people being emotions rather than senses or just physically controlling the body seems fresh and inventive. It's easy to picture your own five emotions, try to imagine your own islands and wonder what your own core memories are. Wait, what are islands and core memories? You'll have to watch to find out! Rush to the cinema while it's still there, or wait to grab it on DVD if you think you'll be crying too much in the cinema to see it all.