Kim Newman

Pleasant, forgettable.

This hastily-produced sequel ignores the dreamstalking premise that had made A Nightmare on Elm Street successful and reverts to the overfamiliar possession story.

Even the gratuitous nudity can't quite save a Heathers-goes-to-college horror that's undermined by a silly plot and clunky dialogue.

Great effects for its time and some incredible performances makes this a true cinema classic.

A really satisfying backstage drama, this is an exhilarating tour around a man whose talent was almost as big as his ego.

Instantly gripping, with a powerhouse star performance, it'll make you want to speed through the weeks to get to part two.

Predictable and been-there, seen-that, but entertaining nevertheless at times.

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.

Savagely witty on backstage life and audaciously edited, Jazz stands alongside Cabaret as the best “musical” of the last 20 years.

What's missing here though is the novel's trick of being a wonderfully contrived mystery on the surface while underneath lurks an angry and upsetting analysis of class injustice in the USA.

Painful for many reasons, but highly recommended.

Cleverly wrought and expertly played crime thriller.

Superbly adapted with blistering performances from Taylor and Hepburn.

Unforgivably terrible.

Mildly titillating, but not very good.

It’s as wistful and sad as it is funny and charming, with the first of Nino Rota’s great scores to keep it burbling along.

Absolutely brilliant. It's funnier, sadder and cooler on the big screen.

The guy story is so strong that conventional romantic interludes with the woman torn between two men could easily have been dropped.

The script hasn't aged well and their's an overdose of the ominous, but when Ford forgets about religion and concentrates on squealer-on-the-run thrills, the film still has a real charge.

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

Cultural clashes all over the place in this sweet and gently comedy.

Poor remake of the Korean thriller.

This isn't afraid to be a horror movie.

The main problem is that the supposed good guys are all such reprehensible toads it’s impossible to care whether they get to bring down Willem Dafoe’s charismatic, polo-necked super-crook.

Genre thrills with a big dose of originality.

Often, stories with terrific narrative hooks run out of steam, but Lábrèche and Léonard keep coming up with satisfying plot twists which take the film into unexpectedly deep emotional waters.

Guest star Dan O'Herlihy steals the film as a Celtic joke tycoon (‘the man who invented sticky toilet paper and the dead dwarf gag’) who hates the way American kids are despoiling the religious spirit of Samhain and decides to teach them a nasty lesson.

It deliberately makes no sense, but it has more bizarro gimmicks to the minute than any other horror picture of 1979.