Ian Nathan

The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

Already a hit in America, 42 is a well-told but square biopic doing justice to Jackie Robinson rather than exploring him.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

Deliberately provocative, infuriatingly melodramatic, this is a film that begs not to be taken seriously, and requires a ready suspension of moral discernment for maximum enjoyment.

Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.

No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.

What begins as a thrilling pastiche of comic-book formula gets bogged down in its own scientific prattle — not that you ever stop adoring Johansson’s magnificent heroine.

For exploitation-enthusiasts and Scorsese completists only.

Smart and satirical but very dated, obviously.

Sequel manages to retain some pathos and credibility.

Michael Caine as a Nazi and Donald Pleasance as Himmler...what more could you want?

A diabolical treat with Rourke and De Niro in fine form.

Director Lewis Gilbert effortlessly marshals the intricacies of the plot (a nutty plan by SMERSH to ignite a world war), the exotic Japanese locations, and the extravagancies of having hundreds of ninja warriors abseiling into a huge enemy base unfathomably constructed in the belly of an extinct volcano (quite the engineering feat!).

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

As earnestly as they have tried to continue the formerly excellent spy series, everything Gilroy and crew concoct only serves to mock the excellence and passion with which Greengrass delivered his films.

A general disappointment, but then with David Bowie and Patsy Kensit what did you expect.

Running at just over four hours, it is as spectacular, lush and extravagant as the studio would have liked its audience to believe. But it also has moments of mind-numbing boredom as the plot,– slowed by extraneous dialogue, drags from Egypt to Rome.

Wise (and Crichton) concoct the most absorbing, riveting take on science fiction tempered with science fact.

This has some very, very funny bits...interspersed with a very slight film.

Great performances and an innovative approach to a tired old story make this one to watch out for.

What a peculiar but effective children’s adventure movie this is.

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

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

Derivative sci-fi hokum but some imaginative touches here and there.

Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.

Ustinov may not be the Poirot that we all think of now, after the David Suchet series, but this is pure Agatha Christie, steeped in nostalgia and atmosphere.

The definitive wacky screwball comedy that spawned a genre.