Less a hangover of a sequel than a satisfying belch to rid the world of the original.

One for the die hards. The saving grace here is a knowing sense of humour so lacking in its predecessor, For Your Eyes Only.

Saturday Night Live activist Murphy, capitalising on the promise he showed in "48 Hrs.," steals the show as the quick-witted Billy Ray Valentine in what is certainly more mainstream fare than the earlier SNL staffed capers.

Pure escapist madness. And a helluvalota fun.

Walter F. Parkes and Lawrence Lasker's script is tight, and Badham directs the whole thing with economy and pace but it's Matthew Broderick's film.

Surprisingly, even after waiting 20 years, they managed to turn out a smart, darkly-comic thriller with some imaginative twists.

The most disappointing of the original three episodes but still charming and thrilling.

The script self-destructs, but the performances — including Daniel Stern as an expendable sidekick — are fun, and John Badham stages some super stunts with the insectile title machine.

All style and no anything else, especially plot coherence.

Unbound by cinematic convention, Raimi unleashed his free-range camera, and ghoulish, omnipresent sound effects to create a bleak, paranoid atmosphere and a raft of sudden, effective shocks.

Knowingly kitsch, Liquid Sky uses the most basic effects and featuring music and fashion that were cutting edge at the time, it now looks fashionably retro. With lots of sex and violence, it sounds a lot more promising than it is, let down by its poor acting, script and a cast we feel little sympathy for.

Excessive and self-indulgent it's true but still the Pythons at their worst are still worth a look.

Grand in scope, the best thing here is still Sir Ben Kingsley's central performance; the film will always deserve to be seen for this alone.

Scorses's skill as a scene-maker are fully evident and Lewis' quietly rageful performance offers to out-do De Niro in intensity, but neither funny enough to be an effective black comedy nor scary enough to capitalise on its thriller/horror elements, The King Of Comedy sits awkwardly between the two.

Life-affirming and often laugh-out-loud funny, this is feel-good movie-making par excellence.

With its echoes of Graham Greene’s "The Quiet American," the script is inevitably preachy and Weir’s camera glowers over the injustices of President Sukarno’s failing regime in late 1965, but the performances are strong and the drama gripping.

As hilarious as it is touching and tasteful at the same time, Tootsie will offend no one and uplift anyone who watches it.

Well-paced and stunningly shot.

It's Newman's performance itself that really makes this film work and helps it truly get close to Lumet's own '12 Angry Men'.

Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.

That the fact they come to appreciate one other, the grudging respect of a million clichés, feels so satisfyingly, shows just how successful the film is.

Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.

It plays a lot like a Porky's holiday comedy for the first half, and then the seagoing killer fish learn to fly and big rubber toothy things terrorise the survivors.

There's the fact that First Blood is a first-rate, taught action thriller.

Guest star Dan O'Herlihy steals the film as a Celtic joke tycoon (‘the man who invented sticky toilet paper and the dead dwarf gag’) who hates the way American kids are despoiling the religious spirit of Samhain and decides to teach them a nasty lesson.

Seminal feature from Tarkovsky, the master of atmosphere and multi-functional allegory is truly affecting, as well as fodder for countless film studies curricula.

Lewd, funny and immensely quotable, this is one of the very best high school dramas ever made.

Overwrought live-action sequences, surreal-to-the-point-of-bewildering animation - The Wall grabs your attention but doesn't know what to say once it's got it.