Angie Errigo

Separately the characters are annoying; together it’s unnervingly like watching one actress playing twins.

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

Be warned - Damon isn't in this one.

Cheesy? Certainly. But strong performances and a heart-warming storyline make this a winner.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

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

There is nothing reprehensible about Palmetto; it simply falls short of conviction because you're too aware you've seen it all a hundred times before.

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

Exceptional turns by Mélusine Mayance and the ever-excellent Kristin Scott Thomas illuminate a tense and compelling story. The contrived modern-day framing works less well.

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.

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.

The tennis itself is ridiculously far-fetched, and yet this may still be the best tennis movie ever made.

A Hugely, irresistibly enjoyable, with star chemistry to spare, genuine laughs and tears, and the bonus of apt Lennon songs on the soundtrack.

Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

That this is a patchwork quilt of a screenplay (written by five credited writers) is apparent in its use of little bits of this and little bits of that. Did none of them notice, looking at the big picture, that it's unbelievable?

We’re all for true, inspirational stories of courage in defiance of evil. But sheesh, this World War II drama is at least as irritating as it is uplifting.

Boring and Silly, Ronin is a better example of Frankenheimer's direction.

Deliciously sick and delightfully cast.

While not wishing to be facetious about women and children held against their will in any country, this tearjerker is strictly TV movie for a wet Wednesday stuff.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

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?

Very funny underdog comedy that’s genuinely heartwarming and full of charm.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

As with Platoon, Stone captures the horrific essence of an environment and transfers it to us without the need for prior knowledge. Dazzling filmmaking.

Holly Hunter goes toe-to-toe nicely with the superbly understated Al Pacino loner obsessed with a long-lost love — one of his most rewarding outings in a very long time.

It may be unfair to compare a film with its stage source, but the fact remains that the film, while retaining a great deal of both humour and pathos, is a less persuasive work and more obviously a vehicle for a starry ensemble.

It’s always a good story, this time told more creepily than usual. Good, but not as good as The Muppets’ Christmas Carol, Scrooged, Mr. Magoo’s Christmas Carol or some great, classic live action classic versions.

Disappointing given the talent and situation, dull as ditchwater and historically suspect, another "The King's Speech" it definitely is not. Nice costumes, though.