Angie Errigo

A superb Kidman takes off the handbrake, and most everything else, in Daniels' southern-fried follow-up to "Precious." Watch it with "Killer Joe" for the ultimate sweaty, twisted double-bill.

Disappointingly dull given the explosive subject matter, this at least attempts to get a message into the mainstream. An extra star for effort rather than execution.

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

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.

The sum of the parts is a cautiously optimistic view of love's power to re-shape lives, propounded with considerable appeal.

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.

Missing the punchy plotting of the Coens thriller it resembles, the early chuckles don't quite translate into a satisfying whole.

This slight, modestly sweet and mildly charming affair squarely aimed at the older cinemagoer is just the bill for those seniors’ matinées where the ticket comes with a cuppa and a biscuit.

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

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

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

Tedious Western, that's a disappointment given the talent involved.

Cringe-making fun for survivors of the '70s. For the younger majority: a familiar rise and fall of sex, drugs and rock 'n' roll enlivened by the gender reversal and performances.

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

Conventional to an almost eye-watering degree, this could have used a little more effort to subvert the genre - and a little more Terence Stamp.

Swank’s moving performance, the period dressing and beautiful planes all appeal, but dramatically it doesn’t really soar.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

Crude, patronising and mawkish, but rescued by excellent performances, beautiful landscape photography, and hard-to-argue-with themes of natural justice, delivered with a punch.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

A gripping modern morality tale with a credible cast and a compelling premise. The film is heavy on self examination and will make you think: what would you do?

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.

Good fun, and though it breathes hard in the second half, the ensemble has charisma to spare.

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.

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

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.

A remarkable ensemble in an uneven patchwork of loss, longing and the urgent necessity of a societal rethink.

Trouble is, James Ivory just doesn't do sleaze. The tawdry milieu of taxi dancers, pleasure-seekers and spies rings hollow.

Bigger, better and more polished than the first, with a quite satisfactory ratio of action set-pieces and a lot of juvenile japery squarely aimed at its PG and fanboy audience.