Ian Nathan

Fairly routine western makes a disappointing swansong for Hawks. Still good fun though, if you like this kind of thing.

For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

Sedate and contemplative character piece but low on thrills.

Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.

Clint doing roughneck humour with an orang-utan, what's not to like?

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

While you cannot dismiss its place in history, its power is in what it represented rather than what it did.

A flawed work held together by Alwyn’s tender presence.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

Justice hasn't been done. The heavens haven't fallen. But skilfully prodding and probing at the edges of America’s greatest crime scene, Oliver Stone reinforces the argument that this was far from an open-and-shut case.

Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

There's no question it's stunningly mounted, and Wasikowska makes a much stronger Jane than Alice, but the romance is overripe and the climax underdone.

With so many films adapted from novels, it's nice to see cinema paying homage to unheralded greats of literature like Sebald. While this one often struggles to do justice to his sense of grandeur and poetry, it'll be manna for fans of the German's work.

Imagine if Stanley Kubrick had made Ghost and you're some way to this classily restrained oddity, but its morbid preoccupations and ambiguity might prove too cuckoo for most.

For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.

All gothicky, christmassy, romantic and Burtonesque. Worth a look.

A pretty craven attempt by Disney to cash-in on Star Wars blockbusting success, this lightweight but well-written sci-fi adventure movie is well pitched at the very young. More discerning fans of the genre would do well to smother their indignation at the levels of general plagiarism floating around the deck of the supership Cygnus.

Connery has a ball with great stunts, snappy dialogue and a bevy of typically Bondish beauties.

Slow and foreboding with a memorably creepy Christopher Walken. If you're looking for fun, this ain't it.

Peckinpah is never quite as comfortable with the high-rise terrain (including sloppy kung fu) as he is with the dusty rawhide of the West, but it still shows up the slick trigger-edits of new action cinema for the gutless vacuum it has become.

Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.

So so adaptation of the Kipling story. The human performances are riotous but their animal counterparts are blank canvases yet to be coloured.

Like Lansbury, the film has aged well and retains almost all of it's magic.