William Thomas

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

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

In another variation on a theme, this plodding drama may have its heart in the right place but, along side a gaggle of angst-ridden Hughes dramas of the period, fails to stand out amongst the crowd.

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

If you want only one Astaire-Rogers musical, Top Hat is obligatory for Astaire at his most debonair with Irving Berlin's title number and Cheek to Cheek in this screwball confused identities plot.

Mamet’s gem of a movie, with a great final twist, goads the Godfathers with just as much invention and wit as the much higher profile Married To The Mob.

A satisfying come-down by the director, who stays safely within, rather than pushes against comedy conventions.

Maddin's surrealism is always gently persuasive rather than all-out shocking. Nobody else is doing anything remotely like this; reason enough to treasure it.

Enormously influential, it spawned Hollywood's interest in smaller scale, prosaic dramas, few of which failed to match its resonance.

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.

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

Appealing, emotional and with a strong enough performance by Rice-Edwards as the boy in his own little war-free world.

Despite some fuzzy thinking in the third act, when it gets hard to see what is on Guare's mind, the result is a thoroughly engaging and pointed film.

Likeable Robert Townsend — who also co-wrote and directed — is a delight in this patchy but consistently enjoyable chronicle of a young black actor’s efforts to crack Hollywood.

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

Storytelling doesn't get much better than this.

As with most Cassavetes' it is Rowlands who steals this show, this time expertly playing the happy housewife slowly going off the rails while Falk plays the part of her bewildered husband. At two-and-a-half hours, it could easily have dragged but with such strong performances, you're left wanting more.

The most purely horrifying horror movie ever made.

A whimsical but optimistic tale of mistaken identity, it starred the Material Girl as the cheekily irresistible Susan, and turned Rosanna Arquette (repressed housewife Roberta) into a star.

Fans can mouth the words of Grant's big speeches along with him, relishing every viperish turn of phrase...this is and always will be a perfect dark comedy and a student staple.

Manages to capture the pure heart and spirit of this comic book Americana.

Connery was perhaps wise to call it quits the first time round.

While never as trailblazing as its subject, The Express is a worthy addition to the lengthy canon of sports biopics

It’s hard to remember that this extremely unexceptional film was a major hit back in the 70s.

Faultless, freewheeling-and very funny.

The rebirth of Disney in the modern era and due to superb songs, enduring humour and a touching plot it remains an animation classic.

Dreamlike Ghibli animation that's well worth seeking out.

It's solid Miyazaki, although he has reached greater heights both before and since.