Significantly worse than the rest of the series, this film is one of the worst flops in recent cinema.

Strays from the boundaries of believability a little too much to be regarding anything other than a throw-away comedy.

It doesn't have the dark edge of Joe Dante's other works, but brilliant performances by Martin Short and Meg Ryan make it a joy from start to finish.

Fun spoof but it's been surpassed in the TV-series film spoof since then.

Subtlety had never been Brooks’ thing, but even blunt blows need to be well aimed, and while Spaceballs doesn’t exactly miss its targets, it certainly bounces off them embarrassingly.

Warm, charming comedy with one of the best one-liner scenes that remains a classic.

Fans can mouth the words of Grant's big speeches along with him, relishing every viperish turn of phrase...this is and always will be a perfect dark comedy and a student staple.

Superb performances, exquisite direction and that Ennio Morricone score create an authentic 1920s Chicago feel and a hugely entertaining crime drama.

A disquieting tale set in the grim realities of trashy America. Some great, often insane performances make it a memorable trip.

A decent snapshot of pre-Beatle Britain, this is much more a fact-based gay melodrama than a trenchant portrait of Joe Orton's life, loves and art.

Although downbeat, this celebration of the US military is done so expertly you forget that at the time it is set Coppola's idea of a great film was You're A Big Boy Now.

Pallid doesn't do it. This is offensively bad in every department and should be left to rot in a vault somewhere.

There are flaws aplenty, but also some effective, old-fashioned Western style performances and a spectacularly over the top finish.

Typically paper thin, the plot and the morality are blown away by the charms of the leading man and a soundtrack that has been hand-picked to get an audience on side. Unadulterated silliness, but harmless fun.

Citizens On Patrol might well have been subtitled When The Rot Set In.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

Likeable Robert Townsend — who also co-wrote and directed — is a delight in this patchy but consistently enjoyable chronicle of a young black actor’s efforts to crack Hollywood.

Humerous, but doesn't gel as well as Levinson's previous efforts.

Hilarious, madcap comedy from the Coen brothers that demonstrates just why they are the kings of quirk.

The gaudily gory, virtuoso, hyper-kinetic horror sequel/remake uses every trick in the cinematic book, and confirms that Bruce Campbell and Raimi are gods.

The pace never slows, the jokes never miss and the stunts never disappoint in this macho-dream of an actioner.

A diabolical treat with Rourke and De Niro in fine form.

Arguably the most imaginative of the horror franchise, with a fair number of truly resonant scenes.

A pallid shopfloor fairytale with absolutely no magic to speak of, other than the spark in Kim Cattrall's eyes.

The two stars are very good, doubtless enjoying their high fashion outfits, and the script has one clever plot reversal in the third act, but it really could have done with a few more thrills (the motives for the killings lead to necessarily slow plot development), either in the murder or the sexual perversity departments.

Humane and perceptive memoir from Allen, with a pleasant visual nostalgia and the usual slew of impressive performances.

Leslie Dixon’s script is effective, though sometimes seems stranded between the domestic humour and the big issues being played out. Still, engaging, undemanding stuff.

Slightly weird, occasionally funny thriller.

Some of the slower tunes tend to grind but the sort of musical/ retro irony is still amusing in places. Not if you don't like dentists though.

A touch too heavy on the Faust scenario, this is nevertheless a typically powerful effort from Stone especially strong on the nightmarish aspects of the war, as when a simple misundertsanding instantly becomes a massacre...Gripping stuff

Toying with themes too serious for it and stars too big for it, this fantasy is incalculably less than the sum of it's parts.

An unusually thoughtful look (and a broad one) at powers on the wane, at America's shift from Vietnam polarisations to 80's apathy, and at one man teetering on the brink of a lonely old age.

Alex Cox’s retelling of the Sex Pistols’ story from the point of view of Sid (Gary Oldman) and girlfriend Nancy Spungen (Chloe Webb) works as both spirited punk biopic and tragically touching love story. It’s a hard film to watch at times, as Vicious plunges deeper into his heroin-induced slump, but told with skill and compassion, which make up for the onscreen squalor.

More style than substance... but such sexy, sexy style...

As involving and intellectually rich as all Tarkovsky's work.

Passionate performances from De Niro and Jeremy Irons in this stark but thematically complex historical drama.

Howell makes the least convincing black guy ever, his eventual contrition feels hollow and forced — much like the laughs.

It wouldn’t be like Martin Scorsese to pick up the tabs on a simple sequel, and this glossy, hard-spoken pool drama, a follow-on from The Hustler, never aligns to the simple organising principle of repeat value.

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

Really, really bad. Production company-destroyingly bad.

The entire cast is superb and it so perfectly paced, that the story unfolds with wit, pathos and sensitivity and completely free of emotional shortcuts.

Joan Allen, Tom Noonan and Dennis Farina contribute to the class in a truly underrated chiller.

In Tobe Hooper’s sequel, the toolkit cannibals are living under a theme park. The mood follows suit, pitched as Evil Deady black comedy. The first third is terrible; the rest judders with abrasive, ultra-demented splatter.

A commendable rarity: a sensitive children’s film that neither patronises them nor insults their intelligence.

Has cult status now but the plot is fiendishly complicated.

Howard the Duck manages to be two or three types of fun: as a crazy comedy, it has some good risque/sick jokes to go along with its messy slapstick and bland rock music; as a monster movie, it has an outstanding performance from Jeffrey Jones as a scientist-cum-monster and an astonishingly repulsive Dark Overlord of the Universe shows up for the exciting climax.

Never brave enough to feel far-reaching (or, ironically, far-fetched, when time-travel and space flight are so popular at the movies), Navigator still fulfills its mission, distracting the family for bang-on an hour and a half.

Safe when it's ripping genre jokes word for word, this pallid pastiche never goes for the jugular, the heart, or any other part of the audience, for that matter. It breezes by like the tamest of ghosts, almost unnoticeable.

Truly great cinema- manages to dodge that 'dodgy sequel' curse with ease.

It falters a little in its confusing climactic battle, but is breathlessly paced, wittily scripted, amusingly played, action-packed and relentlessly spooky.

Sex and swearing from David Mamet: the family guy. Fun for grown-ups only.

The genuinely witty and endearing Disney animation that everyone forgets.

Fabulous fantasy from the godfather of modern puppetry Jim Henson.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

The likeable veneer of the film never threatens to evaporate, which is both a good and a bad thing; the comedy is plentiful but the dark laughs are never quite dark enough, given the subject matter.

As vehicles for fat comedians who were big in the States but never exported well go, this self-proclaimed slob comedy is nearly a masterpiece and certainly much better than the comparable Revenge of the Nerds films.

The world Jordan envisions is desperate, but Hoskins’s human heart offers a lovely thread of hope.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

Pitched halfway between a comedy and a morality tale, this space race often falls between the two, but is mildly diverting and boasts a strong young cast that will go on to make better things.

Top Gun is not so much a movie in the conventional sense as an escalating series of masterfully crafted adverts: motorcycles, aircraft carriers, pectorals and planes all look as if they’ve been shot for a particularly luminous beer campaign.

Safe, sentimental, and loved by kids, Short Circuit never tries to dissect it's predecessor (E.T.) nor outdo it in any way. Would have been nice to see a human-robot love triangle.

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

Stone takes gritty subject matter and hacks it into a perilous ride based on Boyle's life in Salvador. Showing the true, upsetting and harsh realities of which most of us try not to think of. Pure Oliver Stone.

Engaging performances by Penn and Walken can’t quite turn this brutal curio into something more substantial.

A general disappointment, but then with David Bowie and Patsy Kensit what did you expect.

All-in-all a fairly unpleasant experience for most audiences.

Derivative but tongue-in-cheek enough to have a following.

At times puzzling due to the diverse panorama of subject matter, the film nevertheless corners touchy issues more than it flinches them.

Stunning cast and scenery cannot fill the hole where the heart of this film should be. A satire with an unnaturally soft centre.

An uncliched teen movie that features terrific performances from a young cast.

Almost palatable, with some fast-moving stunts but dreadful dialogue.

This has some very, very funny bits...interspersed with a very slight film.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

Sweet but predictible angst-ridden Brat Pack outing.

Erotic at times, certainly, but that's down to the appeal of it's stars and not the minimal clean lines vs. heavenly bodies approach of director Adrian Lyne.

A stunner of unrelenting tension interrupted by action, violence and gore.

Greater drama and prehistorical weight are to found in the earlier Quest For Fire or the BBC's Walking With Cavemen, and without so much as a trailer for extras, this feels like a relic.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

Just as the film captures a world (Imperialism, hunting, colonialism) that has faded away, so this film feels like one of the last of it's kind.

Gilliam's dystopian epic remains among his best, blending his trademark visual inventiveness with a vicious brand of social satire. Unique and essential.

Only distinguishable from the original movie by its obvious cheapness.

The young cast, which resembles a collection of Gerald Scarfe illustrations, acquits itself reasonably well, but is too ordinary to be heroic. And, once action is introduced into the mix, Barry Levinson'’s direction falters.

The jingoism is blindingly awful, but by the time of the showdown, the film has descended into an unaware parody of itself.

More style than substance here but what style it is and what little gems of cinematic moments collect together in this enjoyable ensemble.

This hastily-produced sequel ignores the dreamstalking premise that had made A Nightmare on Elm Street successful and reverts to the overfamiliar possession story.

The main problem is that the supposed good guys are all such reprehensible toads it’s impossible to care whether they get to bring down Willem Dafoe’s charismatic, polo-necked super-crook.

Re-Animator remains a splashy hark back to the glorious 80s love affair with all-things bloody — to the point that Gordon was convinced he'd used more fake blood than anyone else in the history of horror.

Joe Eszterhas conceives a winning formula, and this is perhaps his best film.

Conceptually, this flop has potential for the satirisation of military responses to an alien threat, but it ís wasted in a loose script whose weaknesses are all the more glaring for the film's inability to exploit the power of absurdity.

Martin Scorsese’s take on NYC puts a hip spin on Joe Minion’s cleverly constructed nightmare.

Essential, enormous fun.

Not only do the pair have to prepare for the upcoming race, but, hey, they also have to deal with a hysterical mother, a dying father, and the knowledge that one brother is destined for the same fate as pops. Not quite as sickly as it sounds, with a fair few hints of the onscreen magnetism to come.

Everything from the style to the casting feels grubby and worn.

Burton's first feature revels in the weird, the unpredictable, the infantile and the absurd. A dazzling debut.

Distinctly predictable offering from the ever-overworking John Hughes, who has taken a step back from his previous work.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.