Kim Newman

A demented slice of widescreen right-on action-funk from the blaxsploitation era.

The fuzzy thinking allows for gorgeous outdoor photography and a few too many dead spots, but Seagal the director shows real muscle by staging one of the screen's best-ever exploding helicopters and allowing Seagal the star to spit out tough talk, as when he refuses to shoot Caine because, "I don't want to dirty my bullets."

It's a puzzle as much as a plot, but when it's in focus (which it isn't for long stretches) it's remarkable brain-food.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

Effective jump-shocks and a strong turn from Eddie Marsan mask an over-complicated last act.

At two hours, something as thin and unexceptional as this, is just too long. The result is that all the running gags run out of steam and there are far too many fudgy bits between the comic highlights. Nevertheless, lightly likable.

Aesthetically beautiful and superbly acted, a sure sign of things to come from the leads.

Superb supporting performances from Polley and Baulk go some way to making up for our hero's lesser qualities.

Delivers an effective double-sting ending.

Arguably the most imaginative of the horror franchise, with a fair number of truly resonant scenes.

An okay paranormal mystery, with solid work from the regulars – but please Mr Carter, next time, could we have liver-eating mutants or post-modern comedy like the really good episodes of The X Files?

Well-crafted and well-acted, but ever-so-slightly worthy and strangely unaffecting. Given the track record of the CIA, it probably ought to be angrier.

Half-an-hour too long, but still a fun ride.

Refreshingly free of the gangs, guns and drugs clichés associated with the milieu, this is a satisfying, spicy little picture.

A solid haunting-possession movie with good character work and unusual local colour, this works in a few surprises, sufficient scares and a nicely barbed punchline.

Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.

The execution doesn't quite enliven the premise, but there's still enough enjoyably offbeat moments here to make this one worth digging up.

Brimming with ideas and laudable ambition, it's well worth a look.

Lovers of no-taste splatter movies will be in hog heaven.

More style than substance here but what style it is and what little gems of cinematic moments collect together in this enjoyable ensemble.

Though overstretched and a trifle ponderous, this is a solidly acceptable star vehicle with more than enough righteous vengeance for an evening of classy thrills.

Enjoyable, but this croc-fest is no Lake Placid.

Cold and cerebral, with simmering suspense rather than outright excitement, this is a feel-the-quality-of-the-acting movie. It can’t answer all sorts of questions, but does take a scary mug shot of a subtle monster.

An ordinary, if effective horror picture, is predictable fare with two big ticks to its benefit: a penchant for creep-out scares involving its looming spectre; and a committed, sympathetic performance from Macdonald.

This is one of those failures that has so many near-great things that it almost gets by on guts.

Suspenseful and thought-provoking, The Cured is a serious, engaged horror movie. More upsetting than scary, it ratchets up the tension unsettlingly. There’s life in zombies yet.

A tense, two-piece horror with serious kick.

A good performance from Barrymore, the admirable Gilbert (who talks as her character on Roseanne would if she was covered by an 18 certificate) and director Katt Shea Ruben, a Roger Gorman associate hitherto best known for sleaze thrillers set in strip clubs.