Ferrera successfully breathes life into an old franchise, with only a slight small change in the narrative but making the aliens significantly more frightening. Anwar is equally intuitive and sassy enough to make her a likeable and believable heroine and although the effects aren't up to much, there are still plenty of scary moments.

Although the film has a ridiculous premise that's no reason for it not to work, sadly the direction it is taken in, it's poor acting, character development and shoddy action sequences are though. Allen stands out as a spunky heroine but she's the best thing in it.

Watching Matthau and Lemmon in this vehicle is sometimes hard to stomach after knowing that they are worthy of so much more. Instead of making anyone laugh all it's poor, cheap comedy does is make you cringe for these respectable actors.

Doesn't really cut it in the Western genre.

Though this spin-off from the excellent animated Batman TV series, was too dark to catch the audiences who flocked to The Lion King, it is certainly the best cartoon feature of 1993.

For all its weaker aspects, it is to be recommended as a denunciation of intolerence made with understanding, compassion, and some humour.

The eccentric performances make this otherwise flawed film work.

Much like Pakula's "Presumed Innocent", this is a solid and intelligent, if unspectacular adaptation, and just a tad tighter than The Firm to give it the edge that's needed.

Necessary holocaust movie made for a Western audience. At times over sentimental when the subject matter hardly needs any dressing up, this is a beautifully crafted, hopeful movie.

Mike Leigh sees a Britain everybody knows exists but would rather not think about, and this is a nightmare journey, at once horrific and funny, through a twilight London of the excluded and the rejected.

While the kids may sing a storm when at last they get down to mixing Beethoven, gospel and rap, in the good clean fun department this is monumentally weak and derivative.

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.

Written by Roddy Doyle this was never going to be a depressing tale of single parenthood. Instead we watch through rose-tinted glasses as the ever watchable Colm Meaney bonds with his family over his daughter's pregnancy out of wedlock in Catholic Ireland.

These episodic adventures are a joy to watch and although not all of them are as memorable as each other, each has an entertaining quality that means the film as a whole will stick with you for a long time. Feore is excellent as the pianist, even though you never actually see him play.

Although the broad comedy of the first half soon gives way to a tidal wave of entirely uncalled for sentimentality, this is still a laugh riot - the sight of our hero setting fire to his falsies never fails to amuse.

Although the acting is of a high calibre as expected, the story disappoints with little character development or action.

It is a rare feat to make a sequel better than its predecessor but here Sonnenfeld manages to do just that. With such a strong adult cast, it comes as a surprise when the children steal the show. With such dry and morbid humour, it feels that at times he was filming more for the parental viewers than the childrens.

About as funny as contracting cancer.

Utterly compelling - Sean Penn is a powerhouse in support - and with a railway station set - piece in which De Palma actually betters what was his previously Untouchable effort.

Unsurprisingly this is the worst in the RoboCop trilogy, with the plot proving ridiculous, excelling itself particularly in the climax. For what was a promising debut, it's reputation was quickly tarnished with the drivvel such as this that followed.

Unsurprisingly this film is weak. The final film in a weak trilogy, filled with weak characters, who have weak dialogue and feature in a, you guessed it, weak plot. Thankfully Travolta's next film would be Pulp Fiction giving his career a well-needed boost, it's a shame the same couldn't said for Allie.

Judd is well cast as the small town gal looking to start afresh and gain her independence in this chick flick about learning who you are. The supporting cast allow Judd to spar of them, with the result a pleasing but by no means exciting story.

Hardly a barrel of laughs then, but this slowburn tale sears its way onto the synapses and then flat refuses to budge.

Former pop promo director Sena knows how to give a glossy sheen to the blank surfaces and rough edges of roadside America, but the results look cheap and shoddy rather than seductively challenging.

All gothicky, christmassy, romantic and Burtonesque. Worth a look.

The Beverly Hillbillies turns into possibly one of the worst transitions ever. With a cast full of nobodies (who are nobodies for good reason, except Eleniak and that's for her breasts) and an uninspired script the whole film is a considerably patchy affair.

Sharing the Palm D'Or at that year's Cannes, Farewell My Concubine is the emotional story of two childhood friends who grow up as apprentices in their much-loved opera house. With stunning set pieces and the dramatic backdrop of the revolution, Kaige captures perfectly the relationship between the two boys.

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.

If ever there was a movie equivalent to the one-night stand this is it - not necessarily something you'll remember next day but fast, furious and damn good fun while it lasts.

Hogan proved himself a better actor when pretending that American wrestling is a real sport, and the production team that brought you the Mannequin movies can add another excruciating dud to their CV.

Figgis, reunited with Gere after Internal Affairs, went through the Hollywood mangle on this one, and despite flashes of insight, anything worthwhile gets lost in a script that strains too hard for truth and provokes unfortunate big laughs.

For fans of the Big Bug movies in the 60's this will come as a pleasant surprise with not only the first to made in a while but also the first good one for a long time. Ticks is enjoyably fluff which contains unexpectedly convincing effects and enough of the required screaming of innocent victims.

At first, it's hard to sort out who knows who and where the stories connect, but it eventually comes together, combining the gripping power of a soap opera with the skewed, unusual perspectives of Carver and Altman.

The end result, while not entirely unrewarding, is another step away from the singular vision Cronenberg once expressed even in his marginal works.

Cheesy? Certainly. But strong performances and a heart-warming storyline make this a winner.

Unworthy of comparisons to Hitchcock, but as a thriller it's not a complete failure either.

In between his successful Back II the Futures and his stint on Spin City, Fox's career was in freefall with this film proving the point. Although he is as charismatic as ever, it's not enough for the viewer to actually sympathise with Fox's character, or even lift this poor comedy enough to get a laugh.

A classic, of sorts.

Despite some gags which use the benefit of hindsight too much for their own good, this is a smart piece of filmmaking which suggests Linklater is already one of the more formidable talents of the 90s.

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.

This thriller can't decide if it's a childrens thriller meant for adults or an adult thriller meant for kids, but ends up entertaining no-one.

Surprisingly sentimental by turns, this emerges not as just another gangster initiation movie, but as a story of father and son love with enough guts to hold those anticipating the former, while also touching the heart.

Day-Lewis and Pfeifer are on top form with Ryder giving the performance of her career.

Herrington stages his action efficiently enough - the opening car chase manages to put a couple of spins on a hackneyed cinema staple - but is let down by his own script which seems to have been hanging around in the water so long it's become bloated.

Like, so lame.

One of the best mainstream action-thrillers [in] a decade.

Trying so hard to recreate the stylish spy comedies of the 60's, Turner and Quaid pose unconvincingly as the couple in New Orleans when their maternity leave is cut short. Sadly they the required chemistry and their banter falls decidedly flat. The only redeeming feature is the support of Stanley Tucci.

Wang never loses the pieces, directing with clarity, force and evident affection, building a multi-plotted, multi-layered collection of intimate individual stories into a sweeping, emotional mosaic of life. Wonderful.

What lifts it out of the doldrums is Kieslowski's fascinating use of reflections, focusing techniques and camera angles to give the somewhat pedestrian material a profound and otherworldly East European feel.

Lambert fails to convince as the action star and somehow it is left to a computer to steal the show.

Much slimmed down in a canny script by W. D. Richter, it has become a value-for-money horror movie with a streak of welcome black comedy.

Thin and predictable, and a flop of awesome proportions in the US, this has occasional bursts of freshness, but mostly leaves you with the nagging impression that Mathis ended up with the wrong guy.

Mel Gibson miscasts himself in this fairly dull unoriginal movie.

Enjoyable from start to finish, this throw-away action flick does what it says on the tin.

It might be easy to jump to conclusions as to why Allen made such an irreverent film when his life was in such turmoil, but more to the point why he made it at all. While relatively enjoyable and amusing, the acting begins to grate as the married couple bicker constantly but thankfully Alda and Huston are as reliable as ever.

With a great set designed by an Oscar winner as well as a cast that includes Maggie Smith and of course, based on a children's favourite, it's hard to see where this could go wrong. It does entertain, but it manages to hold back on the sentimentality that you're left with nothing at all.

Unashamedly sentimental, but all the better for it.

With this touching story about a boy learning to play chess, Zaillian cuts an impressive debut, brining out strong performances from his cast most notably the young Pomeranc who is genuinely moving a the chess genius, even when he's not talking we are able to know what he's thinking, a rarity amongst child actors.

Good, gory fun.

The performances transform this otherwise orthodox cat-and-mouse movie into a gripping experience.

Cultural clashes all over the place in this sweet and gently comedy.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

After the success of Wayne's World, much was expected from Myers and this is a distinctly average comedy which failed to deliver. He is enjoyable as the neurotic Charlie as well as his father but the concept itself is just a little too unconvincing.

Sadly, this will not go down as one of Brooks' classics.

Made more than two years ago, this is nowhere near as well thought out as its predecessor ["Boyz N The Hood,"] and is far more strained in making its point.

A typical 90's comedy featuring staples Richard Dreyfuss and Emilio Estevez who re-hash their 'cheeky cops' schtick from the first picture and are now joined by O'Donnell who tries to inject more humour allowing us to forgive the lack of an engaging story. Sadly this is where all three fail.

Despite a cliched plot and some ropey performances, this is still a well-made and entertaining children's film.

Trying to break expectations isn't always a wise idea and here Disney show how not to do it. With this supposed-family movie, they disappoint on nearly every level. The plot is weak, the action poor and it's got Bette Midler, simply dreadful.

A relatively enjoyable kids' movie that will entertain the kids, but unsurprisingly may leave the adults cold. From the director of The Wonder Years, it doesn't break any new boundaries, but rather sticks with what he knows best, that is sentimental childhood comedies.

Terrible, but not worth getting worked up about.

It's easy to dismiss Branagh's Shakespeare productions as nothing new, but before he went on to more heavy duty fare such as Hamlet, he made this bright, accessible romantic comedy which still stands out as one of his greater directorial efforts. The cast are a joy to watch, while the beautiful location matches the romantic mood.

An average movie improved by Cruise's star appeal and accomplished supporting cast.

A surprisingly good and compelling film, that is made by its two leads.

Newcomer Mason Gamble manages to be terminally cute without getting on your nerves, and his reluctant friendship with prissy eight-year-old feminist-with-a-lisp Margaret (who tricks his friend into kissing her doll's bum and then taunts him with the "baby-rump-kisser") is simply hysterical.

This is an attempt to be both a high-octane actionfest and a satire on such films, the result of which is the weirdest concoction: the metaphysical blockbuster. No wonder it tanked.

Before John Woo went all Hollywood on our ass with the likes of Face/Off and Mission: Impossible II, he made several films in his native Hong Kong, this being arguably the pick of the bunch. Although not as slick as his later films, it's more inventive and stylised and with great early performances from Fat and Leung.

So the script and the performances aren't exactly Oscar material, but it scarcely matters given that the real stars here are the ILM-created dinosaurs, a miracle of modern moviemaking.

Continually clearing its throat to utter something profound about sexuality, this never quite delivers the speech, though its failure to fully engage the mind is made up for by its captivation of the eye.

Action filmmaking at its best; a career high for director Harlin and arguably Stallone as well.

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.

An enchanting story played out by a great female cast, particularly Cavazos as the poor Tita, and unique visuals from Arau. With equal parts melodrama, comedy, tragedy and cookery, Like Water For Chocolate adapts well from script to screen, unlike most Hollywood attempts.

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

It sets some sort of record for use of the expressions "nigga" and "muthafucka".

If you're after Sharon Stone in the buff, rent Basic Instinct. It's not a terrible way to spend an hour and a half but it just doesn't fulfill its potential. Stone and Baldwin try to get raunchy but find themselves in desperate need of a fluffer.

One of those rare things...a sequel that's funnier and more successful.

Scott Lee gives a surprisingly strong performance as the Inuit who falls in unrequited love with Albertine. If you can overcome the almost-too-coincidental fact that they are assigned to the same Air base several years later allowing them to be together again then this pleasing romantic drama could just be for you.

Although its politics may be shaky, this comedy still works thank to the charm of Kline and an excellent supporting cast. But it's more likely to provide warm, fuzzy smiles than belly laughs.

This plays up Lee's heroic accomplishments perhaps more than necessary, but it's impossible to deny the power of the basic thrust of his life story, or the spectacular fight sequences.

In this stereotypically-fuelled moralistic gangster movie, the plot is poor, the acting worse and standing at three hours, proves about three hours too long.

Witty, sharp and charming, this romantic comedy is exactly what's needed when Channel 4 aren't showing repeats of Friends. All three are equally watch able, each with their own reason for renting the apartment and each very different.

Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film.

It would be easy to slam this flimsy romantic charmer for its cloying whimsicality, but at the core of its misfits-need-love-too storyline lies a warmhearted charm so captivating that only the most hardened cynic will fail to be enchanted.

Despite its admirable strengths and the fact of it being a true story, there is somehow a failure to completely connect with the fierce boy, giving his unhappy and alienating youth an unfortunate air of unreality.

The performances are alright enough but the casting was a bizarre choice and it's just not strong enough to carry the premise.

It's hard to believe that a bunch of scrappy kids would really be scared of a big dog, which leaves the premise of this film floundering. However the kids prove to be plucky enough to give the film some kind of motivation but the direction lacks in humour or excitement.

As an unashamed B-movie, The Crush does what it says on the tin and entertains for an hour and a half. Except you feel kind of cheated by the supposed climax, with the build up proving more disturbing. Silverstone is convincingly equal parts Lolita and Norman Bates.