Taking its artistic inspiration from African sculpture and Egyptian art, the distinctive pictorial style of Ocelet's award-winning feature is bolstered by an authentic soundtrack from Senegalese musician Youssou N'dour. Couple this with the film's pint-sized but big-mouthed hero, and you've got one of the most enchanting animated features in quite some time.

There's no questioning the strength of Lee's polemic nor the social and political observations that "Bamboozled" offers, yet as a piece of film-making it is undeniably flawed.

The Original Kings of Comedy has more to do with great comedy than Spike Lee's direction.

Certainly the youngsters in Children of Heaven respond well to the direction of Majid Majidi and give off emotions and thoughts in such an unmannered way that many proper actors could learn loads.

A watchable, if by-the-book little movie.

It's not a perfect film because it does take quite a while to bring you into the characters' lives and engage you in their fate but when that becomes ominously clear, you're hooked.

Apart from psychedelic dream sequences with a bowling twist, it's the wealth of great characters and their insane dialogue that make this a memorable film.

It's a little hard to take Hugh seriously but he acquits himself reasonably well in this slight but entertaining thriller.

Although developing from a small, insightful, character-based beginning to a more Hollywood-friendly feel-good climax, this intelligent, atmospheric, and well-crafted family movie seldom loses its way.

A flimsy but pleasant enough comedy.

Whether the film excites you or not, it does excel with some glossy art direction that looks suitably slick in a quality picture transfer. Clear and sharp, this is a pleasure to watch.

Mulholland Falls is a period thriller that is distinguished by an excellent cast, even if most of them seem to be outdoing each other in deep gravel voices.

It's a vibrant, joyous piece of technical accomplishment that's probably one of the most relentlessly innovative films you'll ever see.

The Kiwi native proved he had more up his sleeve than trashy schlock.

It's hard to over sell a movie that is so supremely confident in writing and direction. Despite an almost audience-annihilating run time of nearly two and a half-hours, it is consistently absorbing.

Despite its shoddy script it does benefit from superior art direction that looks a million dollars.

The documentary style allows Spielberg to deliver his message without preaching. The clever use of light and shade also makes it visually stunning.

Almost entirely free of context or comment, it’s like watching a grim, sordid and in fact rather dull porno flick, where the director documents the sexual demands of a number of ‘imaginative’ businessmen and then – unlike the prostitute herself – does nothing with them.

Nonsense is no bad thing, but here it's poorly executed and from Raimi we've come to expect something better.

This is an energetic, fun, almost enchanting thriller with genuine moments of tension and a good few thrills too.

A poignant, heartfelt tribute to a vibrant New York subculture and its flamboyant acolytes, captured on grainy celluloid, shortly before it got appropriated and streamlined by the mainstream.

The sequel to Gremlins actually proves more enjoyable than the first film, offering audacious dark humour and a lot of knowing 'in-jokes'.

Neil Jordan's re-working of Michael Curtiz's 1954 film We're No Angels is a woefully shoddy, misfiring, and mis-conceived affair typical of the director's frequent forays into Hollywood.

At the heart of "A Cry in the Dark" lies a true story so incredible that to have it made into a film could have tempted a sensational outcome of the most ridiculous proportions.

Withnail & I has an air of authenticity only reality could give, and Robinson could only tell MacKerrell's story once. There could never be another Withnail.

Not so much a follow-up as a ruthless self-parody, Evil Dead II ranks as one of the most visually inventive, relentless, and truly original films ever made.

It is a difficult film - slow-paced, unashamedly theatrical and heavily laden with philosophy – yet a profoundly satifying one: a rewarding display of filmmaking mastery that forms a mystical and enigmatic coda to a legendary career.

While the picture falls well short of the Spencer Tracy-Katharine Hepburn comedies it seeks to emulate, it's slick and good-looking enough to while away a few undemanding hours.