Kieslowski plays all this for laughs, and the anti-capitalist satire which fuels Karol's rake's progress remains the most satisfying part of the film.

Nowhere near as good as the first one but all the same ingredients.

This is a feel good movie which is too mechanically put together to make you feel anything.

Funny and occasionally original, this suffers only from too close a resemblance to its rock forefather.

Sadly the plot leaves a lot to be desired with major flaws never far away. The in-jokes are amusing but their novelty soon begins to wear thin.

It's now become Hollywood gospel that if a high concept film is reasonably successful, then make a sequel and if that raises any interest at all, then, hey why not try one more. It's a shame that here the studios just don't know when to stop with this episode ruining the name of what was once an enjoyable franchise.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

Van Sant's film is cold and the gallery of eccentrics merely come across as vulgar caricatures.

The plot is one the original writers would have been proud of and with Garner, himself, appearing it gives the film a seal of approval. A rare performance from Foster who is surprisingly funny and Molina giving a good supporting performance, it's an enjoyable family film.

Style over content, sure, but what style.

There are atmospheric shots of billowing thunder clouds, priests on cliff tops, bloody stigmata and moody eclipses, but it all amounts to nothing.

With Almodovar's early work, it was all about extravagance with his later work such as Talk to Her and Bad Education aiming more for the intellectuals. It's a surprise, then that this film lacks both the flamboyancy of his earlier work and the depth of his latter, landing somewhere unsatisfactorily in the middle.

Dull thriller which isn't very thrilling.

Iain Softley directs his feature debut with simplicity and feeling, and you don't have to have been a Beatles fan to get with the beat. Gives you hope for the British film industry.

Waters' attempt to reach a bigger market sees him lose his own unique identity.

Not stellar Lynch but still an enjoyable film noir.

A witty, stylish and imaginative variation on the vampire movie.

Old-fashioned comedy with superb performances and insightful glimpses into the world of newspaper journalism.

Deliberately provocative, infuriatingly melodramatic, this is a film that begs not to be taken seriously, and requires a ready suspension of moral discernment for maximum enjoyment.

It is, in fact, far from funny, although at moments it does touch upon amusing.

While not to everyone's tastes, this is without doubt one of the most exhilarating films of 1994.

Sirens is a harmless, occasionally intriguing, confection offering just that bit more than an eyeful of Elle in the buff.

Depp puts in a reliable performance as the put-upon son who finds solace in the company of waitress, Juliette Lewis. All three deliver memorable performances along with a strong supporting cast.

Sugar Hill wants to be very different to the other Boyz in the Hood style films by using a second rate Spike Lee approach but sadly it doesn't make the film any better, only highlighting its failures. With the market heavily saturated with these 'hood' gangster films, this fails to stand out.

A surprisingly sweet romantic comedy debut from Ben Stiller.

The fuzzy thinking allows for gorgeous outdoor photography and a few too many dead spots, but Seagal the director shows real muscle by staging one of the screen's best-ever exploding helicopters and allowing Seagal the star to spit out tough talk, as when he refuses to shoot Caine because, "I don't want to dirty my bullets."

A little too exactly like the original but with (fewer) memorable performances.

While the script occasionally plummets to the nadir of un-funny, there are plenty of MTV-style pop interludes to keep the little ones from drifting, and a stonking version of Money (That's What I Want) by Zendetta that is reason enough to sit beside them.

Neither terrible, boring nor soporific, just not very funny.

Depardieu is his usual charismatic self but the script fails to translate well with the generic traits suddenly appearing so much obvious in English.

Never content with one cliché when it can shovel on ten, Romeo Is Bleeding — to borrow a quote from the film's own press notes - "would be a comedy if it weren't a tragedy".

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.