Angie Errigo

There’s beautiful visual and verbal comedy, and the film has the creative spontaneity of a dream, foreshadowing Spirited Away (it influenced Miyazaki). However, the lack of momentum and focus may end up boring children, while the English dub actors sound a little stilted.

A bold but ultimately doomed effort that will irritate all but cultists of the bizarre and the most rabid fans of Mr. Cage.

It's just like a spectacularly excessive and melodramatically daft Cantonese crime opus, but in English, with a thumpingly trendy soundtrack.

Not Lee's finest but intriguing nonetheless.

This is actually better than it may sound, though rather less charming than it would like to, and needs to be.

As frustrating as it is rewarding.

Despite superb performances by Kathy Bates and Jennifer Jason Leigh, a limp, almost TV movie trite, climax never comes near delivering the shocks it should. A shame, as what could have been superb, is merely average.

An unsparing look at the winter of life, salted with humour and emotion.

Terrific effects and considerable charm, but, once again, you can't help wishing the filmmakers had been bolder with the adaptation.

Formulaic but uplifting, positive and accessible. Fairly graphic sex is handled as tastefully as one is ever likely to see in a crowdpleaser.

Like Saudi Arabia's "Wadjda," Burshtein's film is a groundbreaking first - the first Israeli film to be directed by a woman - and although it lacks a little of the emotional heft of Haifaa al-Mansour's work, it's a well acted and delicately told tale.

We're marking time before the final battle between Good and Evil, with the promised darkness sitting somewhat clumsily with teen romance and humour.

Arguably worse than its sadistic absurdity is the depressing, limited scope.

Although its politics may be shaky, this comedy still works thank to the charm of Kline and an excellent supporting cast. But it's more likely to provide warm, fuzzy smiles than belly laughs.

Funny, agreeable and thoroughly enjoyable, if a little bit too neat and fortuitous in sorting out its entangled strands.

Not one of Altman’s masterpieces, but aficionados will find pleasures in a bittersweet swansong from the grand old man.

There's a desperately inevitable, powerfully tragic last reel, but getting there is absolute torture.

A solid, child-friendly work which will keep little ones content, if not mesmerised.

With a great set designed by an Oscar winner as well as a cast that includes Maggie Smith and of course, based on a children's favourite, it's hard to see where this could go wrong. It does entertain, but it manages to hold back on the sentimentality that you're left with nothing at all.

Fine performances -- notably from Phoenix -- still don't make this an easy sell. But it is atmospheric, accomplished and intense.

Natalie Wood is stunning and the drama is full of passion but this suffers a little from 60s hollywood style.

Dramatic disappointment aside, there is a feel for the unglamorous, demanding lives of the real dancers.

This is brutal, gory, at times downright sickening stuff, and somewhat twisted types are likely to laugh like a drain.

Minus delightful stars, this would be laboured indeed. Thanks to them, it scrapes along as modestly appealing fluff.

Madonna knocks herself out and deserves cheers for the emotional range and humanity with which she sings in Alan Parker's spectacular film. But whether you think the movie is great or grisly, rests in large part on your palate for Andrew Lloyd Webber's music.

If it weren't so darned "sincere" this would be an unmitigated bird-brained delight, but it undoubtedly remains a genial crowd pleaser.

Unfortunately, left alone on the big screen, distinctly thin characterisation and a plot that looks like a distended television episode, let the new crew down slightly but there are still enough classic moments to keep fans happy.

C'mon, it's Fred and Bing! Depending on your disposition, you can take that as a recommendation or a warning.