Kim Newman

Both leads excel at showing a true feeling (be it love or lust) but both covered in the guilty angst that one will betray the other. Edge of your seat stuff.

Like 2001, Star Wars and Jurassic Park, it ups the special effects stakes and gets closer to putting on screen the images you've had in your mind while reading epic sci-fi.

Cheerful, kitsch and camp.

As a one-off this could have inoffensively scraped by on thin charm alone. But don't forget kids, it gave rise to such monstrosities as Last Action Hero, Junior and Jingle all the Way…

Good central performances but short on plot.

With Redford giving one of his best comedic performances, helped by a Oscar winning script, The Candidate is witty and charming, while looking good and proving quite memorable, like Redford's lawyer.

Imaginative and surprisingly moving for a silent art movie.

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.

In 1956 audiences flocked to The Searchers precisely because it was a John Wayne western, and lapped up its mix of Injun-fightin' action, rough comic knockabout and intense, emotional storyline. Seen now, it is all that and much, much more.

Okay video-dungeon-style horror, a bit marooned on the big-screen but nevertheless murky fun.

It's a film you might argue with, but its sparing use of on-screen violence, some extraordinarily protracted scenes and sensitive handling of thorny subject matter make it also a film you ought to see.

The end result, while not entirely unrewarding, is another step away from the singular vision Cronenberg once expressed even in his marginal works.

The method is well-worn and the subject-matter familiar, but this is a smart, scary little picture.

Prestigious, well turned out piece of British historical drama with enough genuine intrigue and wit to persuade some audiences they aren't watching a history lesson.

The more intimate scenes are almost unbearably poignant.

If the series wants to become a franchise, a rethink and new blood will be necessary -- maybe Banderas can get mortally wounded in reel one of The Son Of Zorro, passing on the mask and sword to, say, Gael García Bernal.

Probably the best Western since "Unforgiven."

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.

A movie masterpiece.

Straining for significance at every moment, this is one of a wave of late '60s/early '70s Westerns that represent Hollywood's idea of the counterculture in love beads, feathers and picturesque gore.

Every bit as contrived as the leading lady's hairstyles, and rather less technically impressive, this is still trashy fun.

Silly but enormous fun, complete with gypsy musical numbers and an insane battle royal finish.

After Ned Kelly, Jagger needed a hit and Performance was it. Although playing a rock star probably wasn't the greatest challenge, he more than holds his own against Fox in a psychedelic classic.

Compelling 1970s take on the monster horror genre which remains fresh and hugely watchable.

Figgis, reunited with Gere after Internal Affairs, went through the Hollywood mangle on this one, and despite flashes of insight, anything worthwhile gets lost in a script that strains too hard for truth and provokes unfortunate big laughs.

Still the definitive werewolf movie.

Because it is a sequel, it's less satisfying than the more idea-driven original, but this is still top-flight kick-ass entertainment

Performances, plot and landings are nailed down, but there's not enough invention here for the film to achieve cult status.