This spoof vampire flick's sole joke is that the heroine (Kristy Swanson) is a blonde, L.A. airhead rather than a beefed-up stake-toter, mentored by Donald Sutherland's deadpan Watcher.

Both leading ladies display great willingness to send up themselves and Hollywood, and Willis' quiet nervous breakdown showcases his previously unguessed-at comic skills. But it's the pitch-black comedy and celebrity satire that make this so enjoyable.

While Landau, Aiello and a brief appearance by Christopher Walken do perk things up, it's a tediously indulgent, redundant work.

Genuine fun for adults and children alike.

Gas Food Lodging's poster sums up everything the movie isn't about. In a woeful effort to put a sexy spin on proceedings, lone Skye and Fairuza Balk stare out with dodgy come-hither pouts, and the tag line ("When Shade's good she's very good, but when Trudi's bad, she's better") succeeds, with just a dozen words, to undermine the integrity of the whole damn shooting match.

With a slew of body swap films in the late 80's it was expected that this would be another one to fall by the way. Except with a promising script by newcomers Rene and Craig and strong performances from Ryan, Baldwin and Walker, it manages to be more memorable than most.

This is cornily predictable stuff, but it raises itself on a number of counts, with Murphy's transformation from a self-assured cocksman to bewildered, lovesick drip being approached with greater gusto than might be expected.

It's a mostly winning combination of sassy humour and sentiment, enlivened by some fun "newsreel" recreations that catch the period flavour of a sport adopting showbiz tactics - flirty-skirted uniforms, cheesecake stunts and skin-scraping do-or-die game plays - to attract the crowds.

A wonderfully nasty turn from Liotta, along with a novel treatment of familiar plotlines, elevates Kaplan's effort into the 'must see' category.

Burton continues to capture the essence of the Batman legend and more importantly his audiences imagination.

All along, of course, we are supposed to realise they're made for each other, except that that's a little hard to swallow when there's so little chemistry between them.

Way ahead of its time, this is a balls-out satire on the disgraceful layers that can lurk just beneath the Avon surface. This is anti-Ferris Bueller and fiendishly funny.

Despite its hopeless predictability, this is one of those preposterous and sweet-natured family frolics that you find yourself enjoying in spite of yourself. Check your critical faculties in at the door and get stuck in.

Highly-evolved it ain't, but this Stone Age slacker is a lot of fun.

Labyrintine and hypnotic, there's undoubtedly more style than substance to the film, but Von Trier manages to blind and bewilder his audience in a truly masterful manner.

If you like fast food movies that you digest and then 10 minutes later forget what you had - or if a simple evening’s entertainment is what you’re after, this will certainly do the trick.

First-time director Franklin, a former actor, proves himself remarkably adept behind the camera, wringing the plot for every bit of tension, then sitting back and letting his cast stew in it.

A good performance from Barrymore, the admirable Gilbert (who talks as her character on Roseanne would if she was covered by an 18 certificate) and director Katt Shea Ruben, a Roger Gorman associate hitherto best known for sleaze thrillers set in strip clubs.

As a throwaway 80's B-movie you could do much worse. Hauer, as is his way, plays the rough and silent type, this time a cop with Scot Duncan as his partner. There is enough gore, monsters and violence to satisfy but a good plot is sadly lacking and worst of all, they even managed to make Kim Catrall look unattractive.

Apart from a couple of nice touches - like a faked orgasm scene that's almost as off the wall as the one in When Harry Met Sally - mark this firmly in 'Should Have Been Better'.

Sleepwalkers, Steven King's first original screenplay, is horror filmmaking by numbers. It has monster fiends, a few swooshing tracking shots, many a touch lifted from every self-respecting vampire movie ever made, and several weak but intentional laughs to indicate that no one here is taking the thing too seriously.

A modern classic.

This is still a delightfully original picture, poised perfectly between farce and horror.

Splendid landscapes and interesting faces - the usual virtues of the Western - keep the film burbling along, even as the actual plot is falling apart.

It’s overly long and the Rosie Perez sub-plot leads it astray, but mostly, it rocks.

Crude, patronising and mawkish, but rescued by excellent performances, beautiful landscape photography, and hard-to-argue-with themes of natural justice, delivered with a punch.

If there were a special Academy Award for Contrived Premise, this picture would be a hot favourite to scoop the statuette.

The jokes start wearing thin, and most of the noisy characters become rather tedious well before the rag-bag of thesps finally pitch up on Broadway.