William Thomas

Appealing, emotional and with a strong enough performance by Rice-Edwards as the boy in his own little war-free world.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

Not one of Nicholson's best, but an enjoyable comedy nonetheless.

Delightful, but bum-numbingly slow.

The plotting - Kelly's struggling painter falls for Leslie Caron's French waif, engaged to nice but dull Georges Guétary - lacks the pace, exuberance and wit of, say, Singin' In The Rain, but compensates with fantastic Technicolor visuals..., George Gershwin's sublime music (pick of the tunes: I've Got Rhythm, S'Wonderful and Our Love Is Here To Stay), sublime art direction from the great Cedric Gibbons and astounding choreography and footwork from Kelly.

Although some say Wayne's Oscar was given out of sympathy instead of his performance, he still acts well as the sheriff who's past his peak. Proving he wasn't always a serious as he was made out to be, he plays the role with aplomb, even pastiching himself in other films.

It's solid Miyazaki, although he has reached greater heights both before and since.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

It soon becomes apparent, though, that the best songs were used by the first two films, leaving the third with a set of slightly underwhelming tunes.

A sci-fi horror dimmer than the dark side of the moon.

An unbelievably long film for so little pay-off. More cowboys, please.

Kusturica is sturdier on style than substance.

While not quite on a par with Andrew Haigh's "Weekend," this is still an undeniably powerful piece of filmmaking.

Both leads are likeable and have the cutting neuroses that Brooks delivers so well. They can’t really carry the film until the dramatic plot twist but from then on its all good fun.

Despite the luminous Lombard and the venomous March, this is perhaps better for its idea than its execution.

Even the excellent Gong has a tough time trying to twist her character into a tragic heroine, while the utter despair to which sympathetic characters are condemned suggests a significant point in Zhang's career, but does nothing to relieve the viewer's ennui.

A Jamaican classic with an awesome OST.

It’s hard to remember that this extremely unexceptional film was a major hit back in the 70s.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Despite a top-notch cast performing well, and bravely in the case of Knightley, this is an austere, somewhat repressed movie. It never really gets under the skin in the way Cronenberg does at his best.

Humerous, but doesn't gel as well as Levinson's previous efforts.

The film falls into the gap between the manifestly unique qualities of the musician in performance and the near complete mystery of an intensely withdrawn private life.

Well at least we get to see him in more leather in this one. Though one could quite possibly live without it.

Like Driving Miss Daisy this deals with a white employer and a black servant in the times of revolution, not only that but in both films it's a jaded view with the servant being loyal and not a 'friend'. Besides that small problem, it's a moving film with a steady performance from Spacek, but by the end it has definitely become Goldberg's film.

Even while laughing at lines like, “Black people don’t do bungee-jumping, it’s too much like lynching,” you’re still left thinking that the funniest man in the building was not actually in front of the camera.

Road movies should be pleasurable and free-spirited, but Candy Mountain drags too much weight around.

A divisive film - too overwrought for some, perfectly emotionally pitched for others - how much it will appeal will depend on how romantically inclined the viewer is feeling.