William Thomas

Two actors have wasted their considerable talents on this hapless comedy. With a flawed plot and far too few jokes, it's understandable why this isn't a particularly memorable film and just as well it's disappeared without trace.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

Not one of Nicholson's best, but an enjoyable comedy nonetheless.

Undemanding, entertaining and thoroughly enjoyable.

An otherwise fine sports fantasy is dragged down by an overindulgence in sentimentality.

Suffused with the pessimism of Taxi Driver, Blue Collar is one of the most brutally honest films to have come out of 70s Hollywood.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

At times puzzling due to the diverse panorama of subject matter, the film nevertheless corners touchy issues more than it flinches them.

An unredeemable failure on all levels, other than living up to our expectations.

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.

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

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

Though glossy, Sirk's film is tightly structured, with a creative manipulation of light and reflection, and heavy with the symbolism of male destructiveness. Unflinching in its often ugly revelation of character and consequence, it's an intense and powerful film.

The combination of Neil Simon and Mike Nichols has the pair of them back to somewhere near their best.

Dodgy on every level.

One for fans only.

Weird, but kind of cool.

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

Delightful, but bum-numbingly slow.

Whatever you want to call Sick, it's anything but a piece of exploitative voyeurism, by turns sombre, hilarious, wince-inducing and inspiring.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

It all adds up to just another glossy Love Story.

With such a strong cast, the film almost turns into an ensemble film instead of a star vehicle for Stewart in his first of many collaborations with Mann. An Archetypal Western with the required cowboys, gunfights and damsels in distress, it has become an all time favourite.

Pollack does right to put his faith in one man and a whole lot of mountains. The result is impressive.

The plotting - Kelly's struggling painter falls for Leslie Caron's French waif, engaged to nice but dull Georges Guétary - lacks the pace, exuberance and wit of, say, Singin' In The Rain, but compensates with fantastic Technicolor visuals..., George Gershwin's sublime music (pick of the tunes: I've Got Rhythm, S'Wonderful and Our Love Is Here To Stay), sublime art direction from the great Cedric Gibbons and astounding choreography and footwork from Kelly.

Less a hangover of a sequel than a satisfying belch to rid the world of the original.

Interesting but flawed.

Murray's initial transition from the small screen is a classic.