Thankfully Annaud's stunning direction takes in the beautiful scenery allowing a mild diversion from the scenes of romance.

At its heart, Candyman terrifies because of its ideas. It sinks its horrific foundations very much in the real world of poverty and racial alienation.

From Phillippe Rousselot’s exquisite cinematography, with the stunning scenery of Montana as a backdrop, to Redford’s assured direction, this is utterly alluring, and manages to make fly-fishing seem not just romantic, but thrilling.

This no-brainer is fine if all you're after a bit of escapism, but don't look for anything deeper than that.

Flawed, certainly, but by no means the horror-show its paltry box-office performance would suggest.

A film about violent racism that is just too ambivalent in its treatment of the perpetrators to be anything but an uncomfortable watch. Some good performances, but leaves a bad taste.

As a light family sports feel-good this works but don't look for anything more.

Overall this is an effective reminder of a minor literary masterpiece, but most folk would be better off reading the novel or checking out the 1939 movie version.

First and foremost a highly enjoyable crowd-pleaser, despite some plodding direction and laboured point-making about TV news and the nature of fame and heroism, this has Garcia and Davis as their usual beguiling selves and an ending guaranteed to raise a smile.

The hippest crime flick this side of "Goodfellas," Reservoir Dogs has all the hallmarks of a modern classic.

A searing indictment of all sorts of American dreams, Glengarry Glen Ross is a welcome if foul-mouthed reminder of just what it takes for a lot of folk to make it through the working day.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

The boys put in fine performances but sadly the script lacks the depth of what could have been a challenging story.

A family comedy lacking the double level of humour that make the modern ones so successful. The jokes are obvious but never very far away. Russell puts in a worthy performance as the irrepressible Ron and Martin Short is typically neurotic as the father.

Largely, real emotions are substituted here by people swearing and trying to kill each other, which adds up to a shamefully dehumanising piece of work.

Intelligent and witty ensemble rom-com for the grunge generation.

Excellent performances from Pollack and Davis in particular, make this one of Woody's finest of the 90s.

For all the blasphemies and British accent, Pinhead is just a sub-Freddy goon, and the ambiguities and perversities Barker is so fond of have been neatly tidied-up. This is the sort of picture teenagers in malls in Akron, Ohio might understand — a good horror sequel, and that's all.

A very neatly plotted blend of elaborate heist and twisting thriller, peppered with amusing gags and smart one-liners for its top class ensemble.

An over-strung last act aside, this is funny, brilliant and sickening all at the same time.

The quintessential Lynch. Prepare to be confused/intrigued/frustrated/disturbed/hooked.

Less pompous than Pet Sematary, this has moments of trashy vigour but is scuppered by a consistently wretched script, Mary Lambert's knee-jerk direction and the usual redundant sequel air of utter pointlessness.

A screwball comedy, with two well-cast leads, with a pre-Sex and the City Parker and a amusing Cage. The plot is ridiculous but enjoyably so, with enough jokes to carry it for an hour and a half and a relatively fast pace prevents you from seeing the holes in the story.

By the time the deathwish duo embark into mountainous terrain, you'll want to hand them a copy of Thelma & Louise's road map —with clearly marked directions to the cliff.

Offbeat, stylish and packed with some wonderfully bizarro moments.

Fluffy thriller, with moments of unintentional humour.

Former US sitcom staple Ritter breezes through his undemanding role with gormless bewilderment, reacting rather than acting, while Dawber screams and hollers as the special effects - the film's real stars - bounce them from one side of the screen to the other.

Altogether, this is as fine a piece of craftsmanship as one could expect of Eastwood, with Hackman and I Freeman's performances standing out, and given the sombre tone there are entertaining surprises and even some good laughs to be had.