William Thomas

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.

A classic screwball comedy that draws its inspiration from the 1930's genre. The jokes are quick and amusing enough to carry it through it's hour-and-three-quarters. Russell and Hawn have fun with the characters which comes through and makes it all the funnier.

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

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

Fun, but it mugs too hard.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

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.

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

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

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

Even worse than it sounds.

Not only do the pair have to prepare for the upcoming race, but, hey, they also have to deal with a hysterical mother, a dying father, and the knowledge that one brother is destined for the same fate as pops. Not quite as sickly as it sounds, with a fair few hints of the onscreen magnetism to come.

The big screen was where none of them had gone before, and you can tell.

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.

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.

Outrageous and endearing, the Zombieland team swaps horror for crime in a daft caper that's undoubtedly slight but terrifically entertaining all the same. Very fast and lots of fun.

If it doesn't make you at least giggle, then you clearly don't understand the true meaning of the festive season.

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.

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

Not fractionally as clever or as fast-paced as the television series upon which it's based.

An affectionate and entertaining tribute to the Western - but, Estevez aside, Young Guns II doesn't exactly add much to the old genre.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

Little atmosphere and no surprises.

A gaudy, flamboyant expose that asks a lot of its stars, and gets more than it deserves.

Against the odds of a feeble script and uninspired direction the duo do, in fact, grow on you, and there are a smattering of silly laughs, most notably a sequence involving a large road kill stashed in the back seat.

Dodgy on every level.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

An all-star lineup with some kookie moments, but a bit limp overall.