Kim Newman

No masterpiece, but a decent rental prospect. Twohy works the Sci-fi genre well yet again.

Though Spike Lee would clearly like this movie to remind you of ills-of-TV satires like A Face In The Crowd and Network (there's a spin on the well-remembered "mad as hell" speech), it comes out as a weird, unsatisfying hybrid of Robert Downey Sr.'s Putney Swope and Mel Brooks's The Producers.

An austere, cerebral reading of a book which is unfettered, blood-bolstered and wildly sensationalist — Lewis is the father of torture porn, not a master of subtle chills. It’s interesting and unsettling, with a charismatic lead performance, but nowhere near as shocking as it should be.

Yayyyy, monsters!

A clever and enjoyable wrapping-up of the time-travelling adventures.

A smart, subversive but rather cold debut from Brandon Cronenberg that's short of the dark wit that lit up his father's early work. Then again, comparisons are hardly fair, especially when Cronenberg Jr. clearly has plenty of ideas of his own.

Unpretentiously and likeable Peter Hyams is one of the few hacks still working at this budget level, and he relishes the chance to make an audience jump, not only with some neat monster effects and a pile of mutilated corpses but also with some subtleties of editing and lighting, plus one of the loudest jump-out-of-your-seat soundtracks in a recent memory.

Though the clumsy geometric tentacle that does most of the machine’s evil will cries out for morphing, this is remarkably prescient in its tackling of issues the cinema is only now catching up with, and Christie adds depth to the lady-in-peril heroine. Well worth reassessment.

Pelham One was first class. Pelham Two stuck to the schedule. Pelham Three needs a bus pass.

Carnivorous lunar activities rarely come any more entertaining than this.

Some Host or DASHCAM fans might be disappointed that Rob Savage has opted for something ostensibly more conventional — but The Boogeyman shows he can also make an involving, ungimmicky ghost story with perfectly constructed menace and mayhem.

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

A rough, exhausting, exhilarating action picture with a payoff which would have delighted Sam Fuller or Howard Hawks. The Stath - an actual Olympian, remember - is on top form.

Odd, but intriguing.

Probably the best Western since "Unforgiven."

Surprisingly, even after waiting 20 years, they managed to turn out a smart, darkly-comic thriller with some imaginative twists.

Some will find this impenetrable and irritating, but audiences willing to tune into Hosking’s off-kilter style will be moved by the ridiculous love stories and relish the hilarious eccentricity.

A few memorable scenes but this doesn't keep up the pace or plausability sufficiently.

Entrapment ambles lazily through its set-up and features only one (admittedly impressive) stretch of white-knuckle daredevilry as our heroes dangle off the tallest building in the world (which is in Kuala Lumpur, incidentally).

Hill remains a master of action pieces and is even director enough to get strong performances from his bunch of dressed-up pop stars. But this supposed sure-fire thriller, from a script that was called The Looters until the L.A. riots got in the way, fizzles like a Molotov cocktail with a soggy fuse.

It’s uncomfortably the work of someone who thinks mass murder is cool and has no feeling for regular humans.

Although downbeat, this celebration of the US military is done so expertly you forget that at the time it is set Coppola's idea of a great film was You're A Big Boy Now.

A monumentally misconceived sequel, Escape from L. A. is the huge, shonky blemish on the magnificent history of John Carpenter and Kurt Russell.

Of course, this is a film you have to meet half-way. If you’re willing to enter its world, it’s an immensely rewarding, amusing, wise, melancholy and involving experience.

While still a lurid sequel to a ropey slasher movie, Orphan: First Kill is refreshingly clever, unpredictable and gruesome. Isabelle Fuhrman’s Esther deserves three more sequels and a ‘Versus’ movie with the Stepfather or Chucky.

The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing.

Superbly adapted with blistering performances from Taylor and Hepburn.

William Eubank continues to work his particular mind-stretching mix of acute character interplay and cosmic conceptual breakthrough.