Aladdin

It's fine... A very straightforward, big spectacle musical.

It's bizarre in a way that's sometimes funny-bad and sometimes just bad-bad.

Everything about Aladdin is big, and yet feels small at the same time. Its lavish production design and costuming also has the effect of looking more like a stage production than an epic movie.

Massoud's parkour-practising Aladdin and Naomi Scott's glass-ceiling-smashing Princess Jasmine aren't really allowed space to develop readings of the roles when Smith is due to pop out of a lamp at any moment to murder a song or flog a comedy routine

Disney's remake of Aladdin features human actors and digital creatures, but don't call it "live-action." Maladroit and overlong, its resting state is moribund.

Aladdin wasn't perfect, but nothing will ever live up to the classic '92 version. Still, if you have a kiddo, or if you're still a big kid at heart, we certainly recommend it.

Aladdin works when it focuses on its characters. The world it builds is nice and lavish but without authentic depth. That combined with the lack of wonder and mystery keeps this from being as revolutionary as it would have liked to be.

…every element here is a pitiful downgrade on the original…

While Smith and Massoud do display some buddy chemistry, it’s Naomi Scott’s fierce performance as Jasmine that’s the real showstopper.

The characters of Ritchie's film feel like they're trying to replicate better performances than they could ever hope to achieve.