William Thomas

Whatever you want to call Sick, it's anything but a piece of exploitative voyeurism, by turns sombre, hilarious, wince-inducing and inspiring.

Pollack does right to put his faith in one man and a whole lot of mountains. The result is impressive.

Murray's initial transition from the small screen is a classic.

Undoubtedly the finest of Argento's thrilling horrors, this one takes the radical step, for the director at least, to concentrate on a plot that equals the shocking visuals of his other works. David Hemmings is well cast and is given a great script which genuinely frights.

The second half occasionally descends into melodrama, but for the most part this is bleak, non-judgemental, riveting stuff.

Expertly executed example of a golden time in British cinema - one to savour.

The technique used here to plonk Martin in classic movies seems out of place given the kind of sophisticated effects we have on tap today, but there is a real sense of fun at work nonetheless.

A slicky edited, white knuckle ride to the depths of depravity.

A light and lively showcase for a very under-rated double act, Road To Morocco was also unusual for its time in constantly drawing attention to itself as a movie.

Lesser Hitch, but still superb entertainment.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

We must salute screenwriter Budd Schulberg (his speech for priest Karl Malden in the loading bay is still stirring). Add the acting/writing heroics a restrained score by Leonard Bernstein and a striking, charcoal look by cinematographer Boris Kaufman, and you have an elegiac portrait of labour relations that feels like a kick in the slats.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

It's Newman's performance itself that really makes this film work and helps it truly get close to Lumet's own '12 Angry Men'.

A raw, blood-soaked glare into the seedy underworld of sport, with terrific performances by two of Hollywood's heavyweights.

This was the film which fixed Wayne's image forever as a tough-as-leather patriot with a well-hidden heart.

The twist-filled storyline, which digs up nasty secrets all over the show and offers a satisfying range of suspicious suspects and a truly disgusting killer, remains gripping, and the excellent, understated lead performances don't harp on the racial angle in that embarassing fashion which makes so many Socialy Significant films instantly dated.

De Niro's little known masterclass makes this essential viewing.

Labyrintine and hypnotic, there's undoubtedly more style than substance to the film, but Von Trier manages to blind and bewilder his audience in a truly masterful manner.

A solid, enjoyable, beautifully animated Disney movie, but one not quite out of the top drawer.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

It's a million miles from MTV chic; instead a timeless record of a timeless band, now fifty-somethings uniting an everyman/woman/child audience. Feel the power.

Douglas and Turner make a great double act in this exuberantly directed adventure movie with a great start turn from the always enjoyable De Vito. Good stuff.

Ogata's performance is the obvious highlight, and Imamura constructs an utterly plausible scenario, but at times overreaches, and loses focus. If you can tolerate a few extraneous scenes, though, this is a dark treat.

Engaging performances by Penn and Walken can’t quite turn this brutal curio into something more substantial.

Kusturica is sturdier on style than substance.

The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.

The only romantic comedy out there which spans two lifetimes, Chances Are you'll wind up wishing it didn't.