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.