William Thomas

An affectionate and entertaining tribute to the Western - but, Estevez aside, Young Guns II doesn't exactly add much to the old genre.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

Little atmosphere and no surprises.

A gaudy, flamboyant expose that asks a lot of its stars, and gets more than it deserves.

Against the odds of a feeble script and uninspired direction the duo do, in fact, grow on you, and there are a smattering of silly laughs, most notably a sequence involving a large road kill stashed in the back seat.

Dodgy on every level.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

An all-star lineup with some kookie moments, but a bit limp overall.

Wildly uneven, but funny in a bittersweet tittery sort of way in places.

Strays from the boundaries of believability a little too much to be regarding anything other than a throw-away comedy.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

Nowhere near as good as the first one but all the same ingredients.

Has cult status now but the plot is fiendishly complicated.

Dire, B-movie cheese throughout, this gives no clue that Pitt - or anyone else involved - could ever have a career in Hollywood.

Spader and Cusack go through the motions as political sparring partners in this coming of age drama.

For fans of the Big Bug movies in the 60's this will come as a pleasant surprise with not only the first to made in a while but also the first good one for a long time. Ticks is enjoyably fluff which contains unexpectedly convincing effects and enough of the required screaming of innocent victims.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

A fun night in with the tellybox, but then it never claimed to be anything more.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

However you dress it up, laughs where there should be frights is patently piss poor.

In another variation on a theme, this plodding drama may have its heart in the right place but, along side a gaggle of angst-ridden Hughes dramas of the period, fails to stand out amongst the crowd.

Here's a film consisting entirely of things you've seen before. Especially indebted to the hardly classic students-on-rampage sagas Class Of 1984 and The Principal, it even takes its title from a forgotten Amanda Donohoe DTV movie of a few years back. Furthermore, it's choppily directed by Robert Manel (School Ties) and toplined by the still-in-decline Tom Berenger.

One for fans only.

The background is more intriguing than the stumbling up-front story, and monster watchers will get full use of the freeze-frame facility.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

Kids will love it but adults may find it just too silly to sit through.

High hopes of magic from the Gondry-Rogen pairing are dashed. Some neat touches aside, this isn't so much eternal sunshine, more superbad.

The world can only hope The Swamp Thing's abode is now bulldozered and turned into a shopping mall.

Less a hangover of a sequel than a satisfying belch to rid the world of the original.

Two actors have wasted their considerable talents on this hapless comedy. With a flawed plot and far too few jokes, it's understandable why this isn't a particularly memorable film and just as well it's disappeared without trace.

Fans of the book will be pleased that most of its highlights remain intact - including Dilbeck covering himself with Vaseline - but overall this is at best patchy, and, more damagingly, not funny.

A satisfying come-down by the director, who stays safely within, rather than pushes against comedy conventions.

Braindead and done to death, this somehow remains a relatively fun ride.

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

Typically paper thin, the plot and the morality are blown away by the charms of the leading man and a soundtrack that has been hand-picked to get an audience on side. Unadulterated silliness, but harmless fun.

Cowering in the shadow of the Picture Show, this sequel of sorts builds on none of the risks take by its predecessor.

Lacking the bite of "Attack The Block," Stiller and co. are happy to fall back on their usual shtick, with director Schaffer providing barely enough juice to power the laughs.

A mirthless shot in the dark that misses the target by some distance.

Almost a guilty pleasure. But not quite.

The first film to be based on a line of toys, this might not be the last, but it'd take something awful to replace it as the worst.

A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.

You should feel sorry for the memory of Julia - whose swansong this is - but actually it's Van Damme who commands sympathy.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

There is some fun to be had if you're in an undemanding frame of mind.

Flat and unfunny, this merits a second star based entirely on Scott’s cameo. Kev, get thee to a typewriter. You’re so much better than this.

A totally unneeded sequel which does nothing whatsoever for the legacy of the original tale.

Oldman and Seyfried prove to be the big attractions, but Hardwicke's Riding Hood legend still lacks bite.

It’s a film that doesn’t so much invite you to switch off your brain as take it out and dump it in the nearest popcorn box.

Like, so lame.

This feels bigger and more cinematic than the first film, and sees a progression in the lives of the characters. But many of the jokes are beyond broad, and the Middle Eastern stereotypes are shockingly cack-handed.

As a throwaway 80's B-movie you could do much worse. Hauer, as is his way, plays the rough and silent type, this time a cop with Scot Duncan as his partner. There is enough gore, monsters and violence to satisfy but a good plot is sadly lacking and worst of all, they even managed to make Kim Catrall look unattractive.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

Predictably awful fourth installment.

An unredeemable failure on all levels, other than living up to our expectations.

Almost palatable, with some fast-moving stunts but dreadful dialogue.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

Pretty terrible sequel in every respect.

Even with The Exorcist in the world, there is still scope for a contemporary, shocking and thrilling film to be made on the subject of possession. But this is not it: some found footage should really just stay lost.

Energetically humourless, with travelogue and circus footage inserted between the dog-piss and big boob jokes.

An obsequious, ring-kissing portrait of the current US administration, dressed in gauche, glossy reality-TV clothing. And yet somehow still better than Rush Hour 3.