William Thomas

Despite winning turns by Lewis and an on-form Goldblum, the laughs are in short supply.

An unusually thoughtful look (and a broad one) at powers on the wane, at America's shift from Vietnam polarisations to 80's apathy, and at one man teetering on the brink of a lonely old age.

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.

Even the excellent Gong has a tough time trying to twist her character into a tragic heroine, while the utter despair to which sympathetic characters are condemned suggests a significant point in Zhang's career, but does nothing to relieve the viewer's ennui.

The trouble with spoofing soap opera is that its dramatically deranged conventions - dead characters resurrected, hitherto unknown progeny claiming birthrights and bedrooms, characters metamorphosed into new actors - are already so absurd they are hard to send up any further.

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 two stars are very good, doubtless enjoying their high fashion outfits, and the script has one clever plot reversal in the third act, but it really could have done with a few more thrills (the motives for the killings lead to necessarily slow plot development), either in the murder or the sexual perversity departments.

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

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

Even worse than it sounds.

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

Humerous, but doesn't gel as well as Levinson's previous efforts.

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

How did such a dream project on paper turn out so wrong. It should remain one of the great mysteries of cinema. The less said about this one, the better. For Spielberg completists only.

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.

Whatever his intentions, the finished product is about as deep and meaningful as you’d expect from a work starring the Man Who Is Clark Griswold. Which is a good thing really, as, uncomplicated, genuinely funny comedy players are thin on the ground at the moment, and it means Memoirs can carry off the semi-slapstick, borderline-cretinous gags with pace and panache.

An insipid '80s nostalgia piece really, held together by Fox's performance and several neat turns from his support.

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

Sheen thrives in the guise of the idiosyncratic Clough in a brilliantly candid, if bitty, football parable.

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.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Sex and swearing from David Mamet: the family guy. Fun for grown-ups only.

As a fish-out-of-water comedy-drama, it works well.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

Knowingly kitsch, Liquid Sky uses the most basic effects and featuring music and fashion that were cutting edge at the time, it now looks fashionably retro. With lots of sex and violence, it sounds a lot more promising than it is, let down by its poor acting, script and a cast we feel little sympathy for.

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

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.