William Thomas

Cowering in the shadow of the Picture Show, this sequel of sorts builds on none of the risks take by its predecessor.

Too glossy to evoke real sexual tension or, more crucially in this genre, fear, Laura Mars suffers from the over complication of something so simple as serial killing.

Almost palatable, with some fast-moving stunts but dreadful dialogue.

As a throwaway 80's B-movie you could do much worse. Hauer, as is his way, plays the rough and silent type, this time a cop with Scot Duncan as his partner. There is enough gore, monsters and violence to satisfy but a good plot is sadly lacking and worst of all, they even managed to make Kim Catrall look unattractive.

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.

Convincingly sozzled performances but, like Bukowski's poetry, there is little meaningful here to take away.

Flat and unfunny, this merits a second star based entirely on Scott’s cameo. Kev, get thee to a typewriter. You’re so much better than this.

This feels bigger and more cinematic than the first film, and sees a progression in the lives of the characters. But many of the jokes are beyond broad, and the Middle Eastern stereotypes are shockingly cack-handed.

Fans of the book will be pleased that most of its highlights remain intact - including Dilbeck covering himself with Vaseline - but overall this is at best patchy, and, more damagingly, not funny.

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.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

Not as closely controlled as My Beautiful Laundrette, but still a purposeful cross-cultural comedy that raises a few questions alongside the few laughs.

An unbelievably long film for so little pay-off. More cowboys, please.

Entertaining family movie for rainy nights and Christmas holidays.

Thankfully Annaud's stunning direction takes in the beautiful scenery allowing a mild diversion from the scenes of romance.

Humdrum adaptation that should, given the ripe nature of its source material, have been much better.

It soon becomes apparent, though, that the best songs were used by the first two films, leaving the third with a set of slightly underwhelming tunes.

Even with The Exorcist in the world, there is still scope for a contemporary, shocking and thrilling film to be made on the subject of possession. But this is not it: some found footage should really just stay lost.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

A mirthless shot in the dark that misses the target by some distance.

Most of the people who see this will own funnier home videos of wedding disasters.

This is a very patchy affair - while some of the animated pieces work, others come across as downright insane.

Strays from the boundaries of believability a little too much to be regarding anything other than a throw-away comedy.

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

Here's a film consisting entirely of things you've seen before. Especially indebted to the hardly classic students-on-rampage sagas Class Of 1984 and The Principal, it even takes its title from a forgotten Amanda Donohoe DTV movie of a few years back. Furthermore, it's choppily directed by Robert Manel (School Ties) and toplined by the still-in-decline Tom Berenger.

A worthy diversion for the very young, but against their more venerable stablemates - notably DuckTales - The Rescuers's identification/memorableness factor remains second division.

Spader and Cusack go through the motions as political sparring partners in this coming of age drama.