THE FIVE YEAR ENGAGEMENT
Dir: Nick Stoller - Starring: Jason Segel, Emily Blunt, Chris Pratt

The Five Year Engagement comes with the Judd Apatow imprimatur, suggesting a more grown-up rom-com than usual. Which means that there is no stupid implausible set-up: no time travelling, no amnesia, no idiotic convoluted reason for the couple to get together. So that's a good start.

It reunites the director and star of Forgetting Sarah Marshall, who also co-wrote the script, following Segel and Blunt through the titular engagement, as they struggle to reconcile work and love. Most of the expected tropes are on display - colourful families, eccentric work mates, rival love interest, Segel's nude bottom – but the overall sweetness keeps things on track. Even the exaggerated happy ending feels less cloying than it might.

Clearly it's been a quiet week on the movie front but you could do a lot worse than spending 90 minutes in the company of these well-drawn and very human characters.

Also of note is the huge volume of extras on the blu-ray (not all are on the DVD): a longer unrated cut of the film; 40 minutes of deleted scenes; 40 minutes alternate and extended scenes; alternative lines; a long gag reel; a commentary track; it really is a comprehensive package.

Mirror, Mirror, the second crack at the Snow White story this month (Snow White And The Huntsman is still to come), is the cute version, art designed to continual confectionery perfection. This is the one with Julia Roberts as the wicked Queen and a rather anonymous Lily Collins as Snow White; Armie Hammer is the rather gormless prince and the dwarves are short people as opposed to CGI reductions. Both the queen and Snow have the hots for the prince, leading to banishment and a struggle to regain the kingdom. If Snow White And The Huntsman is for the Twilight generation then this is definitely more for Shrek kids (it even finishes with a massed song and dance) but, beautiful though it is, there is a static lifelessness. It's also too long.

The Awakening is set in England in 1921. In the aftermath of the war, ghosts and psychics abound. Rebecca Hall's Florence is an author and well-known debunker of fakes who is called to an isolated boys' boarding school where the death of a pupil has left students terrified of a ghost. Yes, the school is old and spooky, yes the cinematography is fade to indicate ‘the past'. Not good signs, but the story actually takes some surprising turns and retains an unpredictability, while the shell-shocked post-war society is well observed. Quite classy stuff (not scary).

Abandoning (and abandoned by) her white trash parents, 13 year old Luli (Cloe Grace Moretz) takes the handgun that was her birthday present and heads off on a hitch-hiking road trip from Nebraska to Vegas. So goes Hick. Along the way she hooks up with an unstable crippled cowboy (Eddie Redmayne) and a coke-snorting grifter (Blake Lively). Even Alec Baldwin shows up briefly. This is a low-key drama, set to a lovely acoustic soundtrack (including much obscure Dylan), a sad story of damaged low-lifes in stark contrast to the lush pastoral cinematography. Ultimately it's a little underwhelming.

The eponymous Molly of Lovely Molly is newly married and living in the old family home (where her father died) with her truck driver husband. He's away a lot. The house is – need I even mention? - big and dark, and spooky things start happening pretty much from the git-go. Is it the supernatural or is Molly losing it? Her behaviour certainly becomes extreme and irrational. Writer/editor/director Eduardo Sanchez (Blair Witch Project) has a good control of atmosphere and tone (the soundtrack is very effective) but it's hard to engage with Molly, which makes things a bit of a slog.