Kim Newman

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

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

While the film stumbles and meanders, however, there’s no denying that it delivers enough set-pieces for three regular horror films.

Director Dennis Hopper continues the fumbling manner of "Colors" and the forthcoming-but-disowned "Catchfire," drawing out what ought to be a 72 minute B-picture into two hours and ten minutes of sweaty silliness with three pretty stars who can't quite bring themselves to be camp enough for the material.

Class Action, which becomes unbearable whenever the lead characters talk about their relationship, has precisely two and a half things going for it, the half being Mastrantonio's Italian grin.

Many will find Kansas City unbearable, because Leigh (with a mouth full of jagged teeth and a permanent snarl) and Richardson (who totters along in a druggy stupour), give brilliant performances as extremely unpleasant characters. Furthermore, the ending is a real slap-in-the-face downer. But if you can get past that, this is the real stuff.

The epitome of middle-brow 'quality' drama -- admirable within its limitations, but Bernard Schlink's Oprah Winfrey Book Club-approved book wasn't exactly literature, as this isn't exactly cinema.

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

It's nothing wildly original, but it is pacey and entertaining when it gets going.

As with "The Dark Knight," the only real caveat is that while it's exciting and imaginative, it's not exactly anyone's idea of fun. To keep in the game, perhaps the next movie could let the hero enjoy himself a bit more.

It’s the sort of picture you'll either queue all night in the rain to see twelve times or avoid like a Wayans Brothers Retrospective for the rest of life.

By no means a conventional horror film, yet several degrees more twisted and gruesome than the average indie relationships drama, this is likely to appeal to more adventurous cult film fans.

Splendid landscapes and interesting faces - the usual virtues of the Western - keep the film burbling along, even as the actual plot is falling apart.

A curiously resistable drama, despite several strong elements - the most notable being newcomer Idina Menzel.

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

If you can take the assault on your senses it’s worth sticking with for a core of genuine, affecting drama and dollops of sly, quotable humour.

A distinctively crass, hugely enjoyable sick satire from director Paul Bartel, working for uber-producer Roger Corman – allegedly, Bartel kept thinking up more and wilder jokes, while Corman insisted more and more people got run over.

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.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

Adapted from the Stephen King killer car novel, this John Carpenter film is more like an assembly line vehicle than a customised job, but is nevertheless a slick, entertaining piece of work.

Thoughtful trial movie with a disturbing edge.

Fraser on form, 3D dinosaurs, geology lessons, phosphorecent hummingbirds, killer flying fish, theme park rides, Icelandic babe - what's not to like? It skews young, but is everything an 8-12 year-old could want. Older siblings and parents will have nothing to complain about either.

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.

Funny and scary, this is vintage Polanski.

Brilliantly terrible or terribly terrible depending on your viewpoint.

A grand folly, but lots to love.

Thanks to Rushdie's sensitive handling of his own material, this is an adaptation big in both ideas and heart.

While [Penn] has all the heavyweight America-gone-sour themes and confused characters found in roadside movies like Five Easy Pieces, Electra Glide In Blue or Thieves Like Us, he misses the eccentric and exciting spikiness that made them more than just gloomfests.