William Thomas

Like, so lame.

The twist-filled storyline, which digs up nasty secrets all over the show and offers a satisfying range of suspicious suspects and a truly disgusting killer, remains gripping, and the excellent, understated lead performances don't harp on the racial angle in that embarassing fashion which makes so many Socialy Significant films instantly dated.

A fair-to-middling auto-noir with a hole in the middle roughly the size of its leading man’s head.

De Niro's little known masterclass makes this essential viewing.

Energetically humourless, with travelogue and circus footage inserted between the dog-piss and big boob jokes.

Labyrintine and hypnotic, there's undoubtedly more style than substance to the film, but Von Trier manages to blind and bewilder his audience in a truly masterful manner.

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

Loud and ludicrous, The Jerk is a strong contender for the funniest film of all time.

Always a spoof rather than a homage, this comedy soon realises there's only so many laughs you can plunder from the heavy premise and the repetitive carriages.

The blend of Schrader's script, Scorsese's direction and De Niro's performance is both riveting and unnerving. A film that will stay with you forever.

Enigmatic and fascinating.

Pallid doesn't do it. This is offensively bad in every department and should be left to rot in a vault somewhere.

A solid, enjoyable, beautifully animated Disney movie, but one not quite out of the top drawer.

For Freeman's first feature as director, the end result is enjoyable but given his strong roles over the years, somehow more was expected. The equally powerful Glover gives a memorable performance in an interesting film that will inspire and educate.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

A welcome surprise, containing more bona fide scares than Romero's vision, while paying grand lip service to the old master. Truly worthy of that famous title.

Unashamedly sentimental, but all the better for it.

With so many films dedicated to the agonies of filmmaking, Singin’ overflows with the pleasure of movie creation, stitching together references to Hollywood history with more alacrity than Tarantino. One of the highpoints of hoofin’ history but, more importantly, an unadulterated joy.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

It's a million miles from MTV chic; instead a timeless record of a timeless band, now fifty-somethings uniting an everyman/woman/child audience. Feel the power.

Even while laughing at lines like, “Black people don’t do bungee-jumping, it’s too much like lynching,” you’re still left thinking that the funniest man in the building was not actually in front of the camera.

Douglas and Turner make a great double act in this exuberantly directed adventure movie with a great start turn from the always enjoyable De Vito. Good stuff.