While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.

If you can take the assault on your senses it’s worth sticking with for a core of genuine, affecting drama and dollops of sly, quotable humour.

Though somewhat flawed and less artistically daring than it could be, Charlotte still makes for an emotional, humane viewing experience.

While the Norman vistas are glorious, the storytelling lacks wit and charm.

This campy extravaganza has it all - heroes, villains, beautiful women and high stakes. Laughably bad and fantastically good all at once, this is a guilty pleasure that everyone can enjoy.

Zoo is the antithesis of edgy, an overlong, all encompassing experience that despite Crowe's integrity and lightness of touch doesn't deliver the emotional experience of, say, "Jerry Maguire" or "Almost Famous." Still, it is good to have the righteous dude back.

One of the greatest behind-bars movies ever, the result finds director Franklin J. Schaffner making the most of both his sun-drenched locations and his leading man, who squintily acts even co-star Dustin Hoffman well off the screen.

This has grit coming out of its ears but not the greatest Eastwood feature by a long shot.

A cheerful comedy-drama with charm to spare.

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

Impressive visual invention by Nimoy and the reliability of his cast mean that Trek III does more good than harm to a franchise still competing with it's younger, more tehnologically advanced adversaries.

A thoughtful approach to a much-covered topic, mixing prickly issues of roots and genocide with an eye for the surreal and an ear for the earthy.

Indy’s final date with destiny has a barmy finale that might divide audiences — but if you join him for the ride, it feels like a fitting goodbye to cinema’s favourite grave-robber.

Wicked: For Good, sure — but not quite Wicked: For Great.

Proof that when you aim for the stars, sometimes you find a black hole. Hopefully just an anomaly for the usually wonderful Gervais.

Pixar’s first out-and-out love story, Elemental is overstuffed and inconsistent — but packed with enough moving sentiment, gorgeous design and punchy voice performances to mean it still burns bright.

A distinctively crass, hugely enjoyable sick satire from director Paul Bartel, working for uber-producer Roger Corman – allegedly, Bartel kept thinking up more and wilder jokes, while Corman insisted more and more people got run over.

Way Of The Dragon is memorable purely for its final Coliseum-set showdown between Lee and Chuck Norris (at the time the holder of countless US and World Karate championships). This is the film that provides just about the best combat sequence ever shot.

It’s a potentially mid-’90s B-movie premise, but director Patrick Vollrath and star Joseph Gordon-Levitt keep it taut, tense and classy. Just a shame it doesn’t stick the landing.

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.

However, thanks to engaging performances and a sharp script, this movie - essentially a series of three-minute sketches filling 101 minutes could be just the right choice for that Saturday night date, while Wayne-speak will no doubt be quoted and become part of the English language.

A Saw for the action crowd, this is an intense, stripped-down ride that goes places you’d never expect. Edgy and outrageous, it should get the fearless Statham some deserved attention.

A really good, dumb comedy can be a joyous thing, and this is a really good, dumb comedy.

Lots of interesting concepts competing for limited running time make for more of a TV pilot than a feature film.

The ever-versatile Winterbottom's loose and limber adaptation doesn't entirely mesh with Hardy's more formal narrative, leaving this feeling disjointed and underpowered. Nevertheless, there's still plenty to enjoy in the director's customary flourishes.

With a cast this talented there will always be decent moments, but they never cohere. Credit for its casting and design, but it’s not the movie messiah, just a very disappointing mess.

The spirit of the drive-in is strong in this trashy mash-up, though it’s best appreciated as an unlikely romance, where love and poetry somehow blossom amid heavy gunfire and monster rampages.

Suspenseful and thought-provoking, The Cured is a serious, engaged horror movie. More upsetting than scary, it ratchets up the tension unsettlingly. There’s life in zombies yet.