Adam Smith

A highly enjoyable glance at Gotham's veteran haute couturists.

Millions, like all kid-powered movies, stands or falls in the first place on the performances of its child actors, and Alex Etel and Lewis McGibbon both delight.

Smart, sassy and sweet. This showed John Cusack's promise as a romantic lead, and some.

A typically quixotic documentary in which great unknown artists from 35,000 years ago collaborate with one in 2011. Profound, mysterious and utterly absorbing.

Painful, funny and beautifully acted, by Jeff Daniels particularly, who gives a career-best performance.

Huge ghostly fun, and a fine achievement from the early days of CGI.

Some plot developments are more convincing than others, but it’s still a compelling drama with an impressive turn from Garfield as well as Shannon and Dern as Garfield’s concerned mother.

A delightfully obscene alternative to the usual Christmas tosh.

The film's amazing strengths easily outweigh the odd outbreak of hammery.

It's Bacon's astonishing performance that is a quiet, challenging and ultimately discomfortingly human voice.

Not to everyone's tastes then, but for fans of the show - big, big laughs.

This is really Sly's movie as he slugs his way through a heartfelt performance and delivers some cracking punches, both literally and emotionally.

This campy extravaganza has it all - heroes, villains, beautiful women and high stakes. Laughably bad and fantastically good all at once, this is a guilty pleasure that everyone can enjoy.

The powerhouse of the film is Tim Curry's cross-dressing alien, Frank N. Furter, who would never reach these kinds of gloriously demented heights again.

A perfect example of early Brooks firing on all spoofily comedic cylinders.

Top Gun is not so much a movie in the conventional sense as an escalating series of masterfully crafted adverts: motorcycles, aircraft carriers, pectorals and planes all look as if they’ve been shot for a particularly luminous beer campaign.

A quartet of pitch-perfect performances from a cast uniformly at its career best, together with a director on shockingly mischievous top form, this is a shot of pure, exhilarating cinematic malice. And if nothing else, it contains the most surprising puking sequence since Monsieur Creosote.

A deftly directed, superbly acted and occasionally witty biopic which is not afraid to engage with the complexities of its central character.

Surely cinema's first Mexican social-realist cannibal horror drama, it's grimly funny and at times horribly effective stuff. Ickily excellent.

Flimsy plot (as usual for Argento) but stunning set pieces and camera work.

Cronenberg's best for a long time -- broad and entertaining enough for those unacquainted with the director's work, but layered with the themes of infection and mutation that have defined it.

Genuinely funny. A life lesson in never prejudging a man just because he's skinning a squirrel.

Hill, shooting by night and on location together with his OOP Andrew Laszlo, gives the film dazzling style. New York's oil-slicked streets become a labyrinth lit by pools of reflecting light, both scary and strangely beautiful - grimy realism it isn't. It also manages to humanize the gang-bangers to a surprising extent, illustrating the material and emotional poverty that forces them onto the streets in the first place.

Decent belly laughs occur, but they are spread thinly over a prolonged period.

Aiming squarely at Carries, Mirandas, Charlottes and Samanthas, How To Be Single is familiar but fun.

The film's real strength is the way it sounds, with Ry Cooder's jangling score competing with thunderous gunplay for the shell-like's appreciative attention.

Gorgeously realised, gripping and doused in De Palma’s familiar technical wizardry, this is only let down by the director’s equally familiar uninterest in the humanity of his characters.

Nobody does vapid bollocks as enjoyably as Tony Scott, and while this isn't as inventive as "Man On Fire" or as compelling as "Crimson Tide," it's still the right side of dumb.