William Thomas

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.

Take an uncharismatic leading man (Bill Campbell), an obviously pre-Oscar Jennifer Connelly, a scene-chewing Timothy Dalton and action that doesn't start until halfway through the film and what you have is one of 1991's more disappointing summer flicks.

An unsatisfying conclusion, but an inspirational story deftly handled by Freeman.

Despite some good moments, Agents J, O and K are missing an E.

Reynolds was coasting at this point of his career, with zero risk-taking it ends up as a soulless, below-average movie.

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

Undemanding, entertaining and thoroughly enjoyable.

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

Interesting but flawed.

The likeable veneer of the film never threatens to evaporate, which is both a good and a bad thing; the comedy is plentiful but the dark laughs are never quite dark enough, given the subject matter.

A fun, action-packed reintroduction to Conan Doyle's classic characters. Part Two should provide more in the way of scope.

A fair-to-middling auto-noir with a hole in the middle roughly the size of its leading man’s head.

Unashamedly sentimental, but all the better for it.

It's not as poetic as My Darling Clementine or as historically accurate as Sturges' sequel-remake, Hour Of The Gun, but it is a wonderful evocation of the brassy Westerns of the 50s, when Burt and Kirk demonstrated more machismo than a whole posse of Arnies or Slys.

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

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

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

Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

Always a spoof rather than a homage, this comedy soon realises there's only so many laughs you can plunder from the heavy premise and the repetitive carriages.

There's some likable energy to the performances and a strong soundtrack, but the lack of sustained dancing make this more of a nostalgic fantasy than a proper musical, whereas 'Shagging' itself seems far too complicated to catch on.

Sweet but predictible angst-ridden Brat Pack outing.

Hardly a classic given the talents of Carell, Rudd and Roach at his best. It bungles utilising plenty of talent in a lightweight comedy effort that brings little fresh to the table.

Unfortunately shallow characterisation, a script so laid-back you can almost hear it snoring and the occasional outburst of hokey dialogue lead to a movie a good deal less charming than it thinks it is.

Election Year maintains the nervy tension that made the first films entertaining, but doubles down on the political metaphors, overwhelming you with its soap-box rhetoric.

A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

Good, gory fun.

Life stinks, Brooks' character stinks and the film, after all the Brooks magic in the past, stinks.