Though Clay is unbearably watchable, the mis-cast director means this comedy would be better as an action flick - it isn't funny but the violence is well executed.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

More violent, more explosive and even bigger than the original - this ticks all the sequel boxes. But as long as Willis is in his vest and playing McClane, it's hard to care about its shortcomings.

Every motion, from the clamour of the racetrack to the sparring of teacher and pupil, has been worked out for audience satisfaction and grants none. This is not a real film, it is an automaton, a pod-movie, and, thankfully, proved the death nail for such high-concept filmmaking.

If you like to stagger away from a film feeling numb and slightly sick, this one's for you.

Most of the people who see this will own funnier home videos of wedding disasters.

It's fun spotting stars under cakes of make-up and the panache, great supporting cast and good-natured, old-fashioned feel make for a better movie than you remember.

You can really tell that the people making this film had a lot of fun doing it. The plot is thinner than a compressed wafer, but who cares? It's fun and cheap laughs all the way, and that ain't no crime.

Purposeless waste of director Walter Hill's energies.

Top-flight muscleman entertainment that is not afraid to have a brain or two in its head.

A clever and enjoyable wrapping-up of the time-travelling adventures.

Even worse than it sounds.

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

Almodovar consolidated his status as a challenging and bold filmmaker by forcing Americans to drop their zany preconceptions of him and see his world through his eyes.

Despite feeling narratively let off the leash, Last Exit retains the passion of the novel, as well as the switch-blade characterisation.

Nothing more than a romp in Rio, which is fair enough if that's how your get your kicks.

Predictable and flat, the sort of cop-out horror movie which relies on sending up long-outdated female stereotypes of the matron vs the siren. Nothing particularly refreshing or even frightening resides within.

More than an average thriller, but far from Lumet's finest hour.

Unashamedly rubbery fun.

This is brutal, gory, at times downright sickening stuff, and somewhat twisted types are likely to laugh like a drain.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

From the astonishing studio sets and (Gaultier-designed) costumes to Gambon’s performance (so ferociously wicked that it beggars description), Greenaway attacks his targets with a sadistic obsession that is, frankly, terrifying. Many people will be profoundly offended by this film — by the monstrous misanthropy that Greenaway lays bare through it, by the spiteful images of women in a vicious world — but some may appreciate it for what it certainly is: the most startling depiction of intellectual cruelty and evil for many years.

Kids will love it but adults may find it just too silly to sit through.

Peppered with fun-to-spot cameos (can you spot Williem Dafoe?), the parody-satire script works well with Depp's adept handling of the titular bad boy. A delinquent joy-ride, though without the Hard-core distaste of previous Waters flicks, which may or may not be a bad thing.

A well-rounded, unpretentious, very funny, knockabout adventure - subtly blended so that it's fun for all the family.

Braindead and done to death, this somehow remains a relatively fun ride.

A modern-day treatment of Pygmalion and Cinderella rolled into one, it is graced by first-class performances from two easy-on-the-eye stars and a sharp, funny script.

Boring and Silly, Ronin is a better example of Frankenheimer's direction.