William Thomas

There is bound to be a large appreciative audience for this chick flick. But it might not be you.

Stagey filming aside, this is a sharp and controlled study of celebrity obsession.

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

Apart from a sprinkling of Wilde's legendary bons mots and a few fleeting visits to theatres where audiences cheer Lady Windemere's Fan, there is disappointingly little here to suggest the complexity of his mind, the range of his writing or, crucially, the importance of being Oscar.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

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

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.

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

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

It wants to be a modern "Taxi Driver"; it manages to be the new Falling Down, with Foster as fierce as ever.

Connery was perhaps wise to call it quits the first time round.

While never as trailblazing as its subject, The Express is a worthy addition to the lengthy canon of sports biopics

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

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

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

An otherwise fine sports fantasy is dragged down by an overindulgence in sentimentality.

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.

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.

A patchwork of a movie that ultimately knows where it's going, but doesn't really know how to get there.

Good performances, but If you're looking for an uplifting tale of hope against despair, look elsewhere.

Weird, but kind of cool.

Don't expect the puppet to wisecrack - there's more pain here than in "The Passion Of The Christ." It never quite comes together in a satisfying way, but it's still a brave, strange, brain-stirring piece of filmmaking.

Delightful, but bum-numbingly slow.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

It all adds up to just another glossy Love Story.

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.

Interesting but flawed.

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.