So the prognosis is generally positive, though there may be a touch too much sugar in this motion picture panacea, which is, in places, shamelessly sentimental to an extraordinarily manipulative degree.

Prince Of Egypt is epic storytelling on the grandest scale. Big imagery, big themes, big emotions - all met head-on and accomplished triumphantly within a film that is in essence a live action movie - more precisely a Steven Spielberg live action movie - writ cartoon.

A fulsome, fascinating piece of 20th century Irish folklore.

The thrill of the original is seeing a black-and-white, one-foot-on-the-floor, no-sex-please Hays Code world suddenly explode into a slasher movie. Our loss of innocence has, simply, changed all the rules.

The film has a real sense of a situation slipping out of control, with marvellous displays of hysteria matched by movie trickery that spreads the edginess to the audience.

Fun for kids, but, despite some adult references, appeal for the over 10s is limited.

Never quite as witty as it should be.

On paper, fine; on celluloid, a Rocky Horror Show of nightmarish proportions.

Perfectly watchable, undemanding fun, but you can't help thinking that a slightly darker tone would have gone a very long way.

The lesson to be learned here is that movies are far more complex than music videos. Most videos require little or no thought of plot, structure or characterisation, but look great. Which is probably why Williams is so good at them.

This is a film about performances and features simply some of the best seen in years.

For all the exploding gore, graphic eviscerations and combustible corpses, it’s not shocking, not sexy and not scary.

Not all the plot developments ring true, but moments carry a real chill - even in a coma, McKellen can terrify a fellow patient almost to death - and it has more than enough thought-provoking material to command your interest.

Like "There's Something About Mary," Orgazmo has a very sweet love story at its core, although it's more consistently entertaining, blending some outrageous moments with a surprising degree of restraint.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

Chucky's smartest, sharpest outing yet.

By turns wry and sarcastic, the film does a good job ridiculing the home shopping phenomenon in general and the audience that supports it, but lets itself down with occasional lapses into lame slapstick, dubious plot twists and the kind of soap opera-isms it elsewhere decries.

This is one of those failures that has so many near-great things that it almost gets by on guts.

Director Blanks delivers a wholly pedestrian feature debut in this by-numbers teen horror flick that could give you the impression Scream never really happened.

His unique vision as a committed artist and unrepentantly crude joker makes this sweet, disarming, intelligent fun.

Not exactly ground-breaking, but an engaging story prettily told.

In the title role, newcomer Smith shows vestiges of an intuitive and moving performance, but he's swamped by a veritable tsunami of sentimentality and hamstrung by cute dialogue.

Sutherland is just Sutherland but his trademark turn is the perfect foil for Crudup's charging rebel, and makes a personal, affecting relationship the centre of a story essentially about a bloke flogging himself round a running track.

It looks attractive, and is enlivened somewhat by the soundtrack's obligatory disco dinosaurs, but those expecting any real insight into the 70s club scene will come away hugely disappointed.

LaBute has crafted one of the most explicit and hilarious films of the year; it's a slow-moving affair, with little camera movement and only the merest hint of a soundtrack.

Director Sullivan lingers too long in every photogenic location and drags out every incident as if he's making six episodes of a not very sparkling serial.

A gripping modern morality tale with a credible cast and a compelling premise. The film is heavy on self examination and will make you think: what would you do?

Director Steve Miner, on board because Carpenter passed, made two of the early Friday The 13th sequels and manages the business of the sudden knee-jerk shocks with ease, realising (as the previous sequels didn't) that Halloween movies are supposed to be scary not violent.