An enthralling, enjoyable if ultimately far-fetched thriller.

Cronenberg's best for a long time -- broad and entertaining enough for those unacquainted with the director's work, but layered with the themes of infection and mutation that have defined it.

Paltrow does an excellent job as the shy loner, affecting youthful, sulky mannerisms without resorting to stereotype. Anthony Hopkins, meanwhile, brings both gravitas and dark humour as Catherine's mentally ill father, while Jake Gyllenhaal makes for an effective, if buff, maths geek.

A second-rate slasher, but it shows the odd bit of directorial promise and a great deal of ambition.

A sweet but predictable chick flick, this coasts by on the considerable charm of its two leads.

It would like to be "Traffic" with guns, but comes out more like "Blow" with bullets.

A thoughtful approach to a much-covered topic, mixing prickly issues of roots and genocide with an eye for the surreal and an ear for the earthy.

A precious thing, if likely to please refined aesthetes and odd children rather than win over Pixar-sized crowds.

A refreshingly low-key treatment of teenage trauma, with a lovely star performance and an unforgettable approach to orthodontics.

Quality acting and writing and appropriately understated direction, but a touch too polite for its own good.

Predictable and pleasant, with enjoyable performances.

Ror all its cleverness, Emily Rose does have its hokey moments.

Persevere through the sluggish first two acts and you'll be rewarded with a touching relationship perfectly acted by Lewis and Breslin.

A surprisingly rose-tinted look at a subculture that really should have been stamped out some time ago.

Another all-kicking, punching, shooting and exploding dose of Besson born action, and Jason Statham proves that his action mettle in the first instalment was no fluke.

Serious, topical filmmaking of a very high order. It may not engage as immediately as a Bourne, but it sticks with you longer.

Gilliam at his best and his worst.

Not the most sophisticated psychological thriller, yet slick fun.

The Godfather II of manwhore sequels, this improves upon the original in every way. Especially if you're drunk.

Heavy-handed in places and bad news for the Detroit Tourist Commission, this is still a slick, fun ensemble piece and a step back in the right direction for Singleton.

It may not be as daring as Young Adam, but this is a well-performed adaptation of an absorbing melodrama.

A complex, unique and engrossing journey into the murky recesses of an unhinged mind. It really needs to be seen to be believed.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

While not exactly reaching Ring-levels of terror, it's certainly one for connoisseurs of the weird.

Bit of a mediocre drama from writer-director Assayas despite some good turns, not least from Nick Nolte and Beatrice Dalle.

Certainly not the worst of the endless stream of TV remakes, but given the unassuming, easy charm of the original, still wide of the mark by a country mile.

All the actresses (including Tilda Swinton as ex number four) give wonderful performances in the short screen time each of them is allowed.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.