With suitable suspension of disbelief this makes for agreeable enough nonsense.

As a barrel of easy, unsophisticated laughs, Kingpin delivers in spades.

DJ Audrey Wells' crafty screenplay brims with truths about the sexes, providing great lines for Garofalo, and great business for Thurman's confused waif, and cranks the feelgood factor up so high it's almost off the scale.

A film unlikely to do much for either the serial killer genre or motorway services tourist trade.

Sloppy crime epic.

It's all a little too coincidental for comfort, and surprisingly short on laughs for a comedy, but nonetheless this is a light, well-meaning flick, improved considerably by Lake's scatty heroine.

Not to everyone's tastes then, but for fans of the show - big, big laughs.

Here's a film consisting entirely of things you've seen before. Especially indebted to the hardly classic students-on-rampage sagas Class Of 1984 and The Principal, it even takes its title from a forgotten Amanda Donohoe DTV movie of a few years back. Furthermore, it's choppily directed by Robert Manel (School Ties) and toplined by the still-in-decline Tom Berenger.

This is - gasp! - a Hollywood movie actually daring to bare its teeth at silly American flag-waving.

Fear, a sort of pubescent Fatal Attraction, is derivative and often risible, in the competent hands of Foley it's also highly enjoyable.

The vocal cast are great fun, and the animation is smooth and vibrant. Except for a few treacly songs, this is great entertainment for all.

From its baddie-eviscerating opening sequence through innumerable car chases, shoot outs and tongue-in-cheek dialogue exchanges, this is exactly the kind of film that James Cameron would make if they ever let him through the Disney front gates.

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

It may not be to everybody's taste, but this is a daring antidote to its more saccharine cousins.

Vintage Lee visual flourishes and a couple of chucklesome fantasies spoofing a 70s sitcom and blaxploitation flicks make this more watchable than the infuriatingly pointless content warrants.

The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.

If it weren't so darned "sincere" this would be an unmitigated bird-brained delight, but it undoubtedly remains a genial crowd pleaser.

Almodóvar lets rip with a story of great emotional intensity, while retaining his signature stunning visual style and a central performance quite unlike anything previously seen in his work. A potent and strikingly well-delivered combination.

At barely 70 minutes long, this still manages to stammer and stall between the meaningless atrocities. It's time this series met Abbott and Costello.

Painstakingly shot, but emotionally fallow.

This is amiable enough and perhaps one shouldn’t expect anything more from the team that brought you Police Academy (writer Hugh Wilson) and Major League (director Ward). What really lets this down, though, is the uninspired plot and one-dimensional characters. While it’s true that this was never going to be a high-brow evening at the pictures, the air of familiarity it leaves behind proves to be a major disappointment.

Judged by any rational standards, Rumble is absolute bollocks, but it at least has some pretty darned amazing Chan fight scenes.

This isn't afraid to be a horror movie.

In an era not exactly short of quirky bungled heist movies, Anderson and Wilson take an interesting tack – coming in late on lifelong relationships, and showing us the pay-offs to friendships and resentments that have been simmering for years.

The real surprise is that it's a lot of fun, with Sandler becoming more personable as the film progresses, and a couple of truly side-splitting scenes.

The sight of the Muppets making their first movie appearance since 1992's Christmas Carol - with no technological wizardry or flashy special effects applied to update the simple but effective puppetry techniques - proves to be a sobering experience. And the attempt of Jim Henson's bug-eyed creations to keep up with the times results in a breezily entertaining yet old-fashioned brew.

Charismatic performances push this into a higher bracket of political thriller.

The film really succeeds with its warm treatment of ordinary hang-ups - no life-shattering revelations or pain repressed since childhood, just the genuine, everyday trials of life.

It's entertaining in a laughable, six-pack kind of way, acceptable if you're in the mood, slightly irritating if you're not.

A curiously compulsive drama that for all its inevitable Dead Sailors’ Society trappings is still highly entertaining.

Utter, unforgivable bilge.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

Enjoyable, if slight.

Rigorous adaptation of the notoriously "difficult" play.

Warm but unassuming family comedy.

It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.

Even the excellent Gong has a tough time trying to twist her character into a tragic heroine, while the utter despair to which sympathetic characters are condemned suggests a significant point in Zhang's career, but does nothing to relieve the viewer's ennui.

Long but consistently engaging biopic.

On a scene by scene basis, it is mostly great fun but suffers from a contrived script which repetitively drags characters back to the eponymous magical board game for another effect-producing throw of the dice.

The City Of Lost Children is as great a film as you thought "Chitty Chitty Bang Bang" was when you were five years old.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

Sugary enough to induce immediate diabetes, this is not one for cynics.

This is a valiant but overcomplicated Western that aims to redraw the lines on Western mythology: with heroes as mere humans, and heroics as distortions of the truth.

Just perfect. Script, character, animation....this manages to break free of the yoke of 'children's movie' to simply be one of the best movies of the 90's, full-stop.

Of course it's hokey and silly, but Reiner really knows how to skirt potential schmaltz and there is a political backbone to the piece which gives it reassuring depth.

This is the best bond movie since "On Her Majesty's Secret Service".

Staggeringly laboured though this premise may be, it also has the potential for some lightweight farce to pass the time.

Although there are some great moments (one for Nicholson recalling the toast scene of "Five Easy Pieces"), Penn's intentions lose their way.

Carrey tries hard but the success of his excessiveness has always been down to pegging it to good plots and good partners.

There are few surprises on offer here; the comedy is engaging without ever being side-splitting, the dramatic conflict convinces without going overboard, and the denouement, feelgood as it is, can be spotted a long way in the distance.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

It must be hard for actresses as unconventional and gutsy as Weaver and Hunter to find scripts worth making. Although this offers them both meaty parts with plentiful neuroses and snappy lines, it is otherwise a completely mechanical load of old cods.

While this may not quite be a stake through the heart, Wes Craven's curious mix of the comic and the horrific is another nail in Eddie Murphy's career coffin.

As a stylish black comedy its uncompromising nature should be applauded, though as an indictment of the hopelessly violent American society, the message gets lost.

Meat and potatoes teen drama.

From the visceral plunges of the first person mind clip sequences (including a terrifying, controversy courting rape sequence) to the overwhelming finale this is a, literally, stunning event. Some directors can, thank God, still make you experience films.

Jade tries so hard to be a serious, lush noir but, like the cheap sex it revels in, it is ultimately a hollow, anti-climactic experience.

Compared to similar genre offerings, this ain't much cop. But standing alone, it's an entertaining and amiable film.

Another soulless, pointless rip-off, this doodles around the plot parameters of John Carpenter's Halloween movies with only Pleasence, who died during production, and Carpenter's theme tune as links to the series' beginnings.

For all its faults, the good-natured, quirky humour that this for the most part offers ultimately makes it very hard to dislike.

Keaton handles her appealing ensemble, the early 60s period and child's perspective of tragedy, love and reconciliation with a sure, gentle hand.

Not Lee's finest but intriguing nonetheless.

Despite the stars best efforts this is neither funny or original.

Without a doubt, hard hitting and thoguhtful, but Clarke's style here (as it would continue to do) hints at something altogether more disturbing.

Good ideas. Average film.

The filmmakers try to solve the problem of turning an experience which merely consists of a series of fights into a story by... ignoring it, presenting a film which merely consists of a series of fights.

Pfeiffer's performance supersedes any of the material, but the rest of the film is a seething mass of clich's despite the "true story" origins.

Pretty as a picture, but emptyheaded as hell.

Quality premise, poor execution.

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

As bad as cinema gets.

Combining farce and tragedy in equal amounts, DiCillo has made a film that should appeal to anybody who has ever had a particularly rotten day.

Oz's movie is well intentioned if a touch too heavy on the PC side of things, but ultimately proves just too uninspired.

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.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.

Despite the ridiculous premise and casting this is still a pacey little sci-thriller.

The three leads make a decent fist of it, but they're somewhat let down by a script that fails to sparkle and a less-than-perfect balance of action and emotion.

On such a limited level this delivers; if you take the kids, leave them to it.

It's a war story with all the action removed and moral conflict inserted in its stead. That you're no longer allowed to boo is bad enough, but asking anyone to root for this bunch of drips is adding insult to injury.

If you can see beyond the eye-scorching neon and don't mind the desecration of a superhero icon, there's a few crumbs of enjoyment to be had.

What begins as mildly intriguing stuff with some genuinely unsettling moments, quickly melts into a plot so confusing that it almost begins to look as though the editor was taking some mind-altering substance.

Streep and Eastwood's chemistry makes the film.

It's aimed squarely at the tinies, but there is charm enough here to make it bearable for adults too.

Gibson's future-world may be a cold one, but it should never be seen as a dull one; this is a missed opporunity.

Soppy and girlish in the extreme, this should keep even the tiniest viewer rapt, while all too many adults may fall victim to an inexplicable bout of eye-watering long before the closing credits.

Despite a final, tacked-on helicopter denouement, it remains a gripping, relentless, supercharged slab of fun that knows no bounds - New York is its playground and the sky's the limit.

It's hard to care about the characters in this defiantly downbeat drama.

Equipped with liberal helpings of square-jawed top quality Hollywood thespianism, and that expensive, highly commercial Tony Scott gloss-finish, this submarine-set mutiny thriller is about as good as it gets.

While it's all very pleasant watching these undecided pubescents frolic in the lake in their undies, there's a distinct lack of real drama or purpose in the self-indulgent, humourless proceedings.

A biting exploration of family dysfunction and artistic catharsis.

Pointless re-make. One of (the once great) Carpenter's worst.

Bullock is a delight, disarmingly kooky, pleasing to look at, and - as she has previously proved - a gifted comedic actress.

Without rising star DiCaprio and Mark Wahlberg this would have been considerably more turgid and unappealing. But their charm allows sympathy and involvement with the characters, despite their efforts towards self-destruction.

This is a bold, enormously enjoyable effort, by turns both hilarious and disturbing.

Well made, but not entirely successful ensemble thriller.

Depp plays on both his looks and quirky charm to make the title character a joy to watch, while Brando thoroughly enjoys himself as the suddenly amorous physician. Utterly charming.

Braveheart in a new kilt. Not exactly original, then, but worth a look.

We've seen it all a million times before, but there are abundant (foul-mouthed) funnies, and debut director Michael Bay shows his commercials expertise propelling the noisy nonsense into a frantically slick and thoroughly enjoyable extravaganza.