Despite some smart, brittle dialogue and the classy cast, this seldom rises above the routine and is basically a bittired and terribly 60's.

Plucks at the heart-strings in a far too push-button way.

All three leads are genuinely appealing here, with Ryder once again acting her bobby sox off and giving yet further reminder of just how sorely she was missed in Godfather III.

An ambitious and quite beautifully conceived fairy tale for the 90s.

The simmering implication of incestuous emotions between Lili and Roy, leading to the shocking denouement, is badly underdeveloped and mishandled, leaving a lingering sense of anti-climax.

An epic film brimming over with life, romance, humour, comedy and the sheer panache of Depardieu's Cyrano.

There are a few holes in the plot, mainly towards the end, but from start to harrowing finish, it is blissfully apparent that Rob Reiner can indeed turn his hand to virtually anything.

It's hard to imagine that even a documentary on the apparently harmonious marriage of Paul Newman and Joanne Woodward -a union established in 1958 and still going strong - could be duller than this stodgy addition to the Merchant-Ivory menu of good taste.

More story-led than the original with a high enough body count to make it a satisfying action movie.

This sequel is still considerably funnier than the original, with the male leads excelling in their roles.

Bemused out of the ring and brutal in it, Rocky has always been an uncomfortable hero, and it says something for Stallone's skill as a writer that he's been able to keep him going this long. Given the restrictions of the formula, Rocky V is a fitting — even graceful — way to finally hang up the gloves.

So it may not be Citizen Kane, but it is a hilarious comedy (although not a very believable one — there can be no eight-year-olds this ingenious) that kids will love and adults won’t mind sitting through either.

A worthy diversion for the very young, but against their more venerable stablemates - notably DuckTales - The Rescuers's identification/memorableness factor remains second division.

Of sentiment there is too much and the final sequence when the white men inevitably rear their heads and raise their rifles so fraught with tears and peril as to be exhaustingly melodramatic.

Unable to strike enough fear in an audience, this brave foray nevertheless takes a hatchet to the notion that it had gone soft.

A waste of space.

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

Beautifully presented but over-long and best appreciated if you already have an idea of van Gogh's life and work.

All told, a fairly shameful enterprise, displaying a breathtaking paucity of imagination.

Beautifully observed stuff, classy performances, and an occasionally exquisitely funny movie.

This film falls down in it's attempts to do everything at once, so that a potentially horrific scenario is often played out to comic effect. It doesn't quite work and the film manages to undermine itself.

Sentimentality creeps in now and again, but Levinson's steady grasp of his city's unique atmosphere makes these moments genuinely moving rather than hokey.

An intriguing and absorbing movie, reeking of class and quite packed with powerhouse performances.

Director Dennis Hopper continues the fumbling manner of "Colors" and the forthcoming-but-disowned "Catchfire," drawing out what ought to be a 72 minute B-picture into two hours and ten minutes of sweaty silliness with three pretty stars who can't quite bring themselves to be camp enough for the material.

Borderline dreadful waste of potential.

A sentimental drama that's 'good in the air' and something of a throwback to war films of old.

A very clever, stylish story of friendship, loyalty and betrayal.

Marked For Death offers a very proficient range of bang-and-break antics ending with a neat twist.