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.

A movie loaded with missed opportunities.

It's unlikely that the new Aladdin will be the cultural touchstone that the original was, but it has plenty of memorable moments that complement well the iconic ones many of us hold near and dear.

Still, as cynical and pointless an operation as this remake cycle has often been, Aladdin is a bit livelier than the equivalent Beauty and the Beast.

Despite the updates and the pomp Aladdin feels underwhelming by the time the end credits roll. The songs frequently interrupt the flow of the story, creating a stop-and-go feel that sucks some of the film's momentum away.