William Thomas

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

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).

Never brave enough to feel far-reaching (or, ironically, far-fetched, when time-travel and space flight are so popular at the movies), Navigator still fulfills its mission, distracting the family for bang-on an hour and a half.

Beautiful to look at, but shot with a cruel and unerring eye, it gives no quarter to the German people for their complicity in events, and in turn disgusts, amazes and frightens.

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.

As Lowe systematically dismantles Spader's antiseptic existence, Hanson and writer David Koepp handle the thriller plot well, with Lowe effective as the plastically beautiful but deeply dangerous bad influence of the title.

The script might have benefited from being directed by someone more daring, instead George Roy Hill settles for more mainstream territory.

A screwball comedy, with two well-cast leads, with a pre-Sex and the City Parker and a amusing Cage. The plot is ridiculous but enjoyably so, with enough jokes to carry it for an hour and a half and a relatively fast pace prevents you from seeing the holes in the story.

There's no escaping the teen angst or, for that matter, Araki's thumping message with the angry director managing to slip the odd political curve-ball into proceedings as if he's been watching too many Oliver Stone movies.

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.

It's in the animal capers that Disney's skill really comes into play, as stunning wildlife photography combines with an Incredible Journey-type treat-animals-as-furry-people attitude to the narrative, transforming an average adventure film into a humorous, dangerous and immensely watchable movie.

Like the stranded astronauts, we are forced to sit around for too long in stale air, waiting for something to happen. An overly-long, vacuous foray into space.

It all adds up to just another glossy Love Story.

A self-consciously grubby and silly slasher that'll be lapped up by gorehounds, but which really belongs on the rental shelves.

Vice Versa knows its place and, rather than attempting anything oddball, sticks close to the body swap formula in order to gain a decent smattering of laughs. No classic, but a watchable comedy that will find an audience.

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

Loud and ludicrous, The Jerk is a strong contender for the funniest film of all time.

This is the Bond flick blessed with the best plot, a genuine sense of emotion and a spirit closest to Ian Fleming’s novels.

Disney’s adaptation of the first book in T. W. White’s colourful Arthurian trilogy The Once And Future King (which also served as the source for the musical Camelot) is formulaic matinee fare, competent and sprightly but undistinguished.

An embarrassing mish-mash of comedy and horror which fits neither criteria.

This film is more known for being the one which introduced Goldie Hawn to Kurt Russell than anything else, which is somewhat unfair as at its heart lies a sweet romance, with good performances from both the leads and an Oscar nomination for supporting actress Lahti.

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.

A suspense-filled nailbiter that plays on a fear no weapon weilding psycho can top.

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.

What could have been an effective excoriation of US drug policy and a proper look at the violence inherent in the trade is wasted on a simplistic thriller that offers very little, especially given who is behind the camera. Sorry if that harshes anyone's buzz.

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.

A sentimental drama that's 'good in the air' and something of a throwback to war films of old.

Another coming-of-age tale about three boys and their quest to become men, which invariably revolves around having sex and puerile behaviour but then changes tack completely by giving us lush scenery. If the director had remained with one idea then perhaps the end product wouldn't seem so varied.