Neil Smith

Some will balk at Pinto's passivity, but Trishna again shows Winterbottom to be one of the few directors today who are liberated, rather than constricted, by classic literature.

Soderbergh lets his hair down with a frank, funny dramedy that bulges with humour, heart and smarts as McConaughey gives it everything he's got, in a potentially gong-grabbing turn.

Despite being as garish and manufactured as Perry's multi-coloured hair-don'ts, Part Of Me deserves kudos for allowing an element of unpredictability to intrude upon its tween exploitation and sugary vulgarity.

Though more forgiving than previous Solondz films, Dark Horse is too slight to herald a wholesale change of direction. Yet it's still worth catching, if only for Walken's terrible toupee.

What [Bekmambetov] doesn't do is offer us any respite from his 3D CGI barrage, an assault on the senses that makes the bullet John Wilkes Booth fired into the real Abe's noggin seem calming by comparison.

In a summer hardly starved of comic-book properties, this redundant extension of a series that ran out of gas a decade ago doesn't need a neuralyzer to be forgettable.

"Welcome to rock bottom!" sighs Hasselhoff at one stage, pretty much summing up this textbook exercise in sloppy seconds. Here's hoping the piranhas have a better agent than he does.

Tamer than the book and not as funny, this is Salmon filleted. But McGregor and Blunt make fetching lovebirds, while Kristin Scott Thomas is off the scale in a rare comic outing.

It's a must see for fans of roar footage.

To borrow a line Roberts spits at Collins, there's something about Mirror that's incredibly irritating. Fingers crossed Huntsman has more edge.

Though we'd love to see how Aardman handle Defoe's followup, An Adventure With Communists, this amiable but overstretched diversion is unlikely to spawn a Caribbean franchise.

As implausible as the stars' gleaming choppers.

A western as inept as it is preposterous.

A stop-motion charmer.

With Huston spending most of the shoot big-game hunting, it’s probably cameraman Jack Cardiff who deserves kudos for turning this odd-couple romance into such a colourful escapade through east Africa.

Directed by John McTiernan, it’s an ’80s classic full of still-thrilling action, quotable one-liners (“Get to the chopper!” “Stick around!”) and sly digs at Uncle Sam’s penchant for unwinnable jungle wars.

The H2O theme fits in with the main feature, its tale of a clownfish searching for his son constituting Pixar’s most effective amalgam of comedy, artistry and emotional pull.

Breakfast At Tiffany's still exerts an enduring charm, not least because of the poise and waif-like beauty of the bewitching Hepburn. [Review of re-release]

One of [Hawks'] finest pictures: a swoony saga of fatalistic flyboys and the women who try to keep their feet on the ground.

Will Richard E Grant ever get a better role than bitter thespian Withnail? Has anyone devised a more iconic comic notion than the Camberwell Carrot? Has any screenplay combined so many quotable lines with such tear-jerking pathos or blatant homophobia?

What could be better than watching Doris Day reprise her signature role, whip-cracking away in buckskin as the deadwood stage comes a-rolling in over the hills?

Clark Gable and Vivien Leigh create their own sizzle as Rhett Butler and Scarlett O’Hara in a lavish four-hour epic that juxtaposes scenes of jaw-dropping majesty – that aerial shot of the Confederates’ wounded, for example – with moments of elegant intimacy and playful verbal jousting.