Jim Jarmusch's first colour film is less understated and more inviting than those he made before, which may have as much to do with the constant presence of Elvis (in one form or another) as the rich seam of oddball humour and stylish cinematography.

The rebirth of Disney in the modern era and due to superb songs, enduring humour and a touching plot it remains an animation classic.

A rounded portrayal that leaves an overwhelming sense of the miraculousness of life.

Branagh's Henry V must, however, be counted a success - it might never be as famous as Olivier's, but it should carry considerable clout for years to come.

Certainly worth seeing for its care, authenticity and the central performances, but the suggestions of collective guilt and responsibility, and the pushing of humanity towards the brink are just too coy to ever be really effective.

Despite the amiable charms of the central couple of Cheers' Kirstie Alley and a back-from-the-dead John Travolta, it is director Heckerling's goofy willingness to let her imagination run riot that prevents her film from sinking into soap.

The luxurious feel of the film is a perfect counterpoint to the painful truths drawn on each brother's face, whilst Pfieffer is much more than eye candy.

Don't bother.

Outdated and predictable revenge saga.

The film falls into the gap between the manifestly unique qualities of the musician in performance and the near complete mystery of an intensely withdrawn private life.

New Orleans looks as photogenic as ever but ultimately Johnny Handsome never quite leapfrogs over its fundamental cracks.

No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.

A thumpingly didactic script, but Palcy has crafted a watchable - if not particularly important, given its competition - one.

Never revealing too much, Becker keeps us intrigued to the end, whilst Pacino and Barkin unexpectedly sizzle.

Sweetie is a deeply uncomfortable, distressing yet wholly rewarding experience.

Middle-aged scouse housewives and Willy Russell is a bread and butter combination: no frills, a tad repetitive, but plenty of substance nonetheless.

Reasonably gripping.

Five stars for cute and courageous Milo and the intrepid and loving Otis, but any adult who isn’t a devoted animal lover is warned to stay away.

Michael J. Fox is a revelation as the mouse that roared, whilst the score, the direction, and the rest of the cast turn a risky film into a solid addition to the Nam canon.

Despite an impressive bag of special effects tricks, old Fred is starting to resemble one of those dead horses that studio execs insist on flogging.

Weirdly, the film’s problem is that it revs up the tension so much that, like one character’s submersible sinking into the high pressure of the titular Abyss, it finally bursts. The climax – as Bud descends to defuse the nuke and meet the aliens – just doesn’t work.

Startling is the fact that a film so light on action and heavy on chat can be so achingly funny without having being crafted by a young Woody Allen.

A hard-boiled version of Rocky, with enough anti-Balboa brutality to keep our interest.

A funny and touching look at the joys of family life.

A terrific alternative to the diabetic's nightmare that is most of Disney's output, Kiki's Delivery Service takes pride of place in Miyazaki's exceptional body of work.

Hanks, it seems, is good enough to survive any film. The dog, too, works wonders with a standard script.

A devastating heart-stab of a movie, this certainly isn't a family film. It is, however, a beautifully constructed, animated drama.

There's some likable energy to the performances and a strong soundtrack, but the lack of sustained dancing make this more of a nostalgic fantasy than a proper musical, whereas 'Shagging' itself seems far too complicated to catch on.

He may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery.

The joy comes not from the will-they-won't-they romance between the two leads, but from the sharply written humour from the pen of writer Nora Ephron.

Unlike most sequels Lethal Weapon 2 is neither predictable nor conventional. It's just pumped full of juice.

Dire, B-movie cheese throughout, this gives no clue that Pitt - or anyone else involved - could ever have a career in Hollywood.

Morita still charms, Macchio still tightropes between petulence and raw optimism, whilst the fight scenes are competent enough to offset the woeful romantic sub-plotting.

A loud, careering thunderbolt of a bipoic, that leaves behind an imprint of the myth, if not enough of the man.

As before, Lee's acute observation distils humour from accuracy rather than caricature but his growth as a filmmaker is impressive.

Jack Nicholson as The Joker helpfully provides all the colour.

A bold but ultimately doomed effort that will irritate all but cultists of the bizarre and the most rabid fans of Mr. Cage.

There is a great deal of action in Renegades, yet it still manages to be a faintly boring film.

Lovers of no-taste splatter movies will be in hog heaven.

Half-an-hour too long, but still a fun ride.

An immensely enjoyable slice of romanticised fisticuffs, this is a Western in every respect except the stetsons and six guns.

Wonderfully acted by a large cast of star bit-players who were obviously just keen on being in this particular movie - and with Edwards amply making up for his criminal appearances in Revenge of the Nerds and Top Gun.

Badly scripted, hackneyed, cliched, deaf/blind comedy.

Captures the brash boldness of the novel, but not the literary wit. A misguided affair.

The comedy is hit-and-miss but this is a vibrant, watchable movie.

The world can only hope The Swamp Thing's abode is now bulldozered and turned into a shopping mall.

A scabrous, somewhat wayward anti-80's rant that, whilst providing Grant with a few moments of high farce, lacks the wit and social surety of Withnail & I.

Millar's warmth for literary influences continues to buoy his filmmaking, whilst a sturdy British cast and faultless period settings do Dahl proud.

This is actually better than it may sound, though rather less charming than it would like to, and needs to be.

Powerhouse cameos, just enough sauce and extra anchovies that no one will be complaining about.

Highly amusing and well paced, an engaging fairy-tale with a slightly sinister underbelly.

What it's really about is taking a second chance to make good on old regrets and dead hopes. Never mind the baseball, this is one for the heart, made beautifully.

This is simply the finest jazz documentary ever made.

One of the problems is that King usually writes about cliche subjects so well that you don’t notice the hackneyed aspects of his books, and so when all the character detail, precise backgrounding and elaborate plot setting-up mechanisms are pruned away, all you get is a dumb TV movie with characters doing insanely stupid things to prolong the agony.

It's watchable enough in a nothing-better-to-do sort of way, but comparison with a contemporary movie, say, Uncle Buck, shows just how thin it really is.

If you're looking for sophisticated wit keep going, but Major League is pleasant, undemanding fun and the most likely of the baseball movies to hit over here. You don't need to know what they're doing on the field, there are some amusing supporting performances, and everybody likes to see losers make a dream come true.

Initially, the film works well as a tense, teasing suspense vehicle. But one of Dead Calm’s major problems is that it brings to mind ideas and plot similarities from so many other films that you are constantly being reminded of its own rather humble status.

A well-put together team performance, with enough in-jokes and self-effacement to steer clear of any detours into bad taste.

Avoiding the 80s staple of angsty adolescence, Crowe has constructed an intelligent, witty yet undeniably cute tale, showing the potential that would be realised in Singles and Jerry Maguire, and giving Cusack's warm-hearted Lloyd the perfect foil in Skye's prissy model of student perfection.

Michael Lehmann’s feature debut introduced the world to Christian Slater at his Jack Nicholson, subversive best and gave Winona Ryder a career-high role.

Funny and inventive vehicle for Chevy Chase's hapless and genuinely funny comic creation.

A safe, effectively jumpy transfer of Alien to the depths that restores the fear of Jaws into an environment momentarily softened by The Abyss.

Weird to the Gilliamth degree, Munchausen just might making being an 'uneven' movie a compliment.

This is probably worse than you’d expect, even from a sequel to a sequel to a sequel to a sequel to a sequel.

The only romantic comedy out there which spans two lifetimes, Chances Are you'll wind up wishing it didn't.

An unsatisfying conclusion, but an inspirational story deftly handled by Freeman.

Despite its bleak locations, High Hopes is in fact very funny, with wonderful observations on life in the capital...and believable, touching performances all round.

An insanely effective no-brainer of a film, sparkling with a simple charm and energy rarely witnessed this side of illegal substances.

Whilst this fly is not as tightly scripted or keenly directed as its parent, it does have pace, breathless tension and the sort of gross-out effects that rules out kebabs for some time after the credits have rolled.

A dodgy script and weak direction means the decent performances fall flat.

With remarkable performances, aggressive direction and a cracking pace, this is superb cinema, even if the historical accuracy leaves much to be desired.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

Unfairly neglected, perfectly creepy and disturbing suburban bizarro drama.

Performances, plot and landings are nailed down, but there's not enough invention here for the film to achieve cult status.

"Save your last breath...to scream" reads the tagline - we advise you save it for the inevitable sigh as the credits roll on this monstrous B-Movie farce.

A riveting portrait of a complex man who, like Stone himself, struggles with being a favourite of the institution(s) he attempts to rebel against.

Sentimental, cliched and at times overdone but a true weepy if ever there was one.

Steve Martin does his schtik to perfection and Michael Caine unveils some adroit comic timing in this charming but mediocre comedy.

Unrelenting, unremitting, a brilliant broad-brush of a parody.

The humour, when it comes, is on a par with Reitman's Ghosbusters, but the film feels, rather than the solid comedy it is, like a massive missed opportunity.

Murray doing what he does best, if you like that sort of thing.

The first film had its moment of charm, and the cast were good enough to overcome the downright stupidity of the storyline, but this is simply a dreary bore that takes advantage of a terrific cast by moving them about on the screen without giving them anything to do. One long yawn.

Sharp animation and powerful visualisation of scale will enthrall a young audience but the clumsy cub-scout moralising feels, well, extinct.

Lacks the classic Disney charm that works for adults as well as kids.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

An explosion of garish colour, wacky detail and surreal complications, Almodovar’s very funny, urban comedy overflows with the unexpected. See it!

To say this is the best of the Ernest series is no great compliment, but there are enough knowing film jibes here, and ample seasonal tomfoolery, to keep a family in their seats.

Occasional misgivings about Streep's accent aside the powerful performances and sharp script augment this revealing human drama.

It's nothing wildly original, but it is pacey and entertaining when it gets going.

A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

Mamet’s gem of a movie, with a great final twist, goads the Godfathers with just as much invention and wit as the much higher profile Married To The Mob.

It's incredible that a film could be so closely patterned on Carpenter's still-thrilling original movie and yet be so stupid, unscary and plodding as Halloween 4 is.

An embarrassing mish-mash of comedy and horror which fits neither criteria.

Foster is simply fantastic as the tough Sarah, unshakeable in her belief that justice has not been done and that she has a right to demand it. McGillis, from a slow start, builds beautifully and by the time the action has switched to the courtroom, she has shed her starchy persona for a true advocate's passion.

Little atmosphere and no surprises.

A compelling mix of music and misery as Bird flushes himself down the can.

Paul Schrader's intense drama pulls out all the stops.