Despite the very predictable way the movie moves along, the message here is simple, well-known and comfortingly reassuring – that if someone loves you, they will do so because of who you really are on the inside.

The effects are superb, the action is supersized and ultimately, if there is just one word that can describe this movie, that word would be ‘awesome’.

It’s paced pretty nicely too, helped along with an at times tart and mostly witty script, with the director duo having writing credits too. Pike is nothing short of charming, as is indeed, the entire film.

Apart from an ending that seemed a tad stretched and the voiceovers that were unnecessary, this is an unusual and engaging saga of everlasting love.

The film straddles a sort of middle ground between scary and family drama and it takes a look at the other side of a zombie film – the human side sans violence. Refreshingly, jump scares are diligently avoided too. Breslin’s performance is both intense as well as moving. But most surprisingly, Maggie sees a rather interesting change of pace for Arnold Schwarzenegger, who pulls off playing a caring, sensitive character pretty well indeed.

The Bowen’s house of horrors is a minefield of scares. Evil dolls, clowns, toys and even the gnarled old tree outside. And of course, closets that contain more than just clothes and shoes. Interesting modern touches, such as an innovative use for a drone and a rogue smartphone are added but the pace is just too breezy.

Tomorrowland is an ambitious, sprawling tale involving different generations, time travel and visions of the future. If there’s one simple fact that the film clearly establishes during its expansive run-time, it is that humanity’s collective actions will have a direct impact on the days and years to come.

In undoubtedly his best performance in years, Al Pacino has taken this story – inspired by the true tale of folk singer Steve Tilston who received a letter from Lennon that wasn’t delivered for decades – and elevated it to a whole different level altogether.

The cinematography puts you in front and centre, almost feeling every crazy twist and turn in a chase as characters scramble and fight over, under, above and in front of flat-out weirdly pimped out vehicles. Some scenes are just flat-out bizarre. However, the attention to detail is fantastic. On the flip side, the constant barrage on the senses will polarize viewers – you’ll either not like it at all or you’ll love it. So there you have it. If you want your big screen thrill ride this summer, this might just be the ticket.

It’s a good thing this movie makes no remote hint of a pretense to take itself seriously because going by the gag reel at the end credits itself (yes, stick around for that) it’s clear that the cast members themselves had more than a bunch of laugh-out-loud moments while shooting. The movie’s humour rides on the random pairing of these two ladies.