Angie Errigo

Gentle, likable and profoundly touching, it makes you want to dig out the hiking boots and make the same journey.

The pace drags terribly, however, and the period detail is distractingly off in small ways that become annoying. Thankfully, though, things perk up with a bravura finale, when Merrill finally takes the witness stand before the dreaded inquisitors.

One of those rare things...a sequel that's funnier and more successful.

DJ Audrey Wells' crafty screenplay brims with truths about the sexes, providing great lines for Garofalo, and great business for Thurman's confused waif, and cranks the feelgood factor up so high it's almost off the scale.

If not a star-making turn, Mbatha-Raw's tough, tender performances should give her plenty of opportunities in sharper fare.

Okay for those who dote on ‘classics illustrated’ in the Merchant Ivory line, but not as fluid as all that.

Think The Archers with a sprinkling of trendier folk and a lot more shagging. Very intelligently funny, with stellar performances.

Apart from the odd titter, this is a sound formula suspense movie with spiffy set piece thrills, directed with assurance by Dead Calm's Philip Noyce and attractively played by the plausibly anxious principals.

The result never comes close to being hilarious, merely cute in the corniest way. That it is more of a pleasure than it deserves, is down to the light, bright leads. Cage and Fonda are both charming, though he’s particularly endearing in his uncharacteristic but welcome turn as a soft-hearted, irresistable darling. The slightness is a disappointment, but the concoction is still very sweet indeed.

Philip Seymour Hoffman puts his oar in with a tender, thoughtful adaption of Robert Glaudini's stage play. A little too measured to deliver an emotional punch, it's nevertheless beautifully acted and at times rather lovely.

Occasionally irritating farce but inventive and boasting an endearing as well as laugh-out-loud performance from Murphy in and out of fat suit.

One comes out of this fragmentary documentary about the King Of Cool’s passion for motor racing liking him much less than one did going in.

Iain Softley directs his feature debut with simplicity and feeling, and you don't have to have been a Beatles fan to get with the beat. Gives you hope for the British film industry.

Handsomely done but short on the atmosphere and passion of a genre classic.

While Landau, Aiello and a brief appearance by Christopher Walken do perk things up, it's a tediously indulgent, redundant work.

It has grown a little thin with age, especially Gere’s yuppie baiting speeches, but there’s a hardness here, an aversion to the dumb action thrills of the genre, that keeps it respectably high up the scale.

Exciting in parts, Meryl Streep and Kevin Bacon doing their best, but arc of suspense doesn't quite bring you to the edge of your seats.

Pitched awkwardly -- neither for children nor cool young adults -- it's very sweet, very nice and just the thing for a girlie matinée with mum and nan.

Odd-couple chemistry and a dark underbelly keep this Danish noir adaptation compelling.

Val Kilmer is extraordinary as Morrison, holding the centre with a demonic charisma, while Stone recreates the late '60s milieu with vibrant versimilitude.

If you're looking for sophisticated wit keep going, but Major League is pleasant, undemanding fun and the most likely of the baseball movies to hit over here. You don't need to know what they're doing on the field, there are some amusing supporting performances, and everybody likes to see losers make a dream come true.

Could have been a little more darkly comic in places but the performances are superb.

It is a rare feat to make a sequel better than its predecessor but here Sonnenfeld manages to do just that. With such a strong adult cast, it comes as a surprise when the children steal the show. With such dry and morbid humour, it feels that at times he was filming more for the parental viewers than the childrens.

Like a late ’60s satire played embarrassingly seriously.

Determinedly quirky and cool, arresting and ultimately too baffling to be satisfying, although Penn is priceless. Cultdom beckons.

Quite a nice little relationship comedy-drama, but essentially for an audience of what the French charmingly call ‘women of a certain age’. Totally not the Superbad set, then.

If Fosse's film fails to capture the man or his art completely, it remains a damn good place to start.

Despite its admirable strengths and the fact of it being a true story, there is somehow a failure to completely connect with the fierce boy, giving his unhappy and alienating youth an unfortunate air of unreality.