Joan Allen, Tom Noonan and Dennis Farina contribute to the class in a truly underrated chiller.

In Tobe Hooper’s sequel, the toolkit cannibals are living under a theme park. The mood follows suit, pitched as Evil Deady black comedy. The first third is terrible; the rest judders with abrasive, ultra-demented splatter.

A commendable rarity: a sensitive children’s film that neither patronises them nor insults their intelligence.

Has cult status now but the plot is fiendishly complicated.

Howard the Duck manages to be two or three types of fun: as a crazy comedy, it has some good risque/sick jokes to go along with its messy slapstick and bland rock music; as a monster movie, it has an outstanding performance from Jeffrey Jones as a scientist-cum-monster and an astonishingly repulsive Dark Overlord of the Universe shows up for the exciting climax.

Never brave enough to feel far-reaching (or, ironically, far-fetched, when time-travel and space flight are so popular at the movies), Navigator still fulfills its mission, distracting the family for bang-on an hour and a half.

Safe when it's ripping genre jokes word for word, this pallid pastiche never goes for the jugular, the heart, or any other part of the audience, for that matter. It breezes by like the tamest of ghosts, almost unnoticeable.

Truly great cinema- manages to dodge that 'dodgy sequel' curse with ease.

It falters a little in its confusing climactic battle, but is breathlessly paced, wittily scripted, amusingly played, action-packed and relentlessly spooky.

Sex and swearing from David Mamet: the family guy. Fun for grown-ups only.

The genuinely witty and endearing Disney animation that everyone forgets.

Fabulous fantasy from the godfather of modern puppetry Jim Henson.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

The likeable veneer of the film never threatens to evaporate, which is both a good and a bad thing; the comedy is plentiful but the dark laughs are never quite dark enough, given the subject matter.

As vehicles for fat comedians who were big in the States but never exported well go, this self-proclaimed slob comedy is nearly a masterpiece and certainly much better than the comparable Revenge of the Nerds films.

The world Jordan envisions is desperate, but Hoskins’s human heart offers a lovely thread of hope.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

Pitched halfway between a comedy and a morality tale, this space race often falls between the two, but is mildly diverting and boasts a strong young cast that will go on to make better things.

Top Gun is not so much a movie in the conventional sense as an escalating series of masterfully crafted adverts: motorcycles, aircraft carriers, pectorals and planes all look as if they’ve been shot for a particularly luminous beer campaign.

Safe, sentimental, and loved by kids, Short Circuit never tries to dissect it's predecessor (E.T.) nor outdo it in any way. Would have been nice to see a human-robot love triangle.

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

Stone takes gritty subject matter and hacks it into a perilous ride based on Boyle's life in Salvador. Showing the true, upsetting and harsh realities of which most of us try not to think of. Pure Oliver Stone.

Engaging performances by Penn and Walken can’t quite turn this brutal curio into something more substantial.

A general disappointment, but then with David Bowie and Patsy Kensit what did you expect.

All-in-all a fairly unpleasant experience for most audiences.

Derivative but tongue-in-cheek enough to have a following.

At times puzzling due to the diverse panorama of subject matter, the film nevertheless corners touchy issues more than it flinches them.

Stunning cast and scenery cannot fill the hole where the heart of this film should be. A satire with an unnaturally soft centre.