Adam Smith

In seamlessly interweaving top-notch CGI and incredible stuntwork, Cohen has delivered some of the finest auto-action ever put on screen.

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 Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror, placing 12 men at an Antarctic station while a shapeshifter takes them over one by one.

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

If you can see beyond the eye-scorching neon and don't mind the desecration of a superhero icon, there's a few crumbs of enjoyment to be had.

As an exploration of cultural discord, Nagisa Oshima's film is pretty thin stuff, despite its reputation. Bowie is a potent irritant, but Tom Conti is solid in support and Sakamoto's mesmerising score sparkles anew.

It’s occasionally sick-funny, but large swathes are unforgivably dull.

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.

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

Disappointingly dull account of a tale desperately in need of a sharper screenplay and some directorial vim. Might as well wait for the Blu-ray, Jules.

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.

As bad as cinema gets.

Nothing Landis can do makes up for a limp plot bolstered by distinctly Cannonball Run-ish car smashes and an irritating sprog. And the movie's not even out in the year 2000.

Aniston deports herself competently, here showing us nothing she hasn't on Friends, and Bacon is pretty much on autopilot as the company stud but it is Mohr who actually shines, skilfully giving an underwritten role a genuinely deft sense of nobility and charm.

Heavy but fascinating creepy drama, that lacks pace in the first half but has some genuinely thrilling moments.

Stone's film could have allowed political voices that are rarely present to get a fair, and critical hearing. Instead he near smooches them to death.

Likeable leads and the odd good joke makes this romance an amiable time-passer.

Competently made, and enjoyably played. But you do really end up wondering what the point was. Cinematic déjà vu is the most likely response.

in the end, Paycheck never quite cashes out.

A second-rate slasher, but it shows the odd bit of directorial promise and a great deal of ambition.

Gothika never delivers anything more than the occasional, cynically engineered jolt and often drifts close to provoking giggles.

Utter, unforgivable bilge.

The Keep wears its crap bits proudly on it's sleeve, its qualities are more hidden and emerge only once you've watched it, dismissed it and then found that it's atmosphere refuses to disperse.