Remote, murky and interminable.

The plot pulls you along at breakneck speed, so the plausibility of two US leaders on the lam matters not a jot. What does matter, however, is the excellent script which has a kiss-off line at least once every five seconds and keeps the mush down to an absolute minimum.

Minus delightful stars, this would be laboured indeed. Thanks to them, it scrapes along as modestly appealing fluff.

Great actors do what they can in a simple and largely unaffecting story.

In typical Rob Cohen fashion, it does exactly what it says on the tin. But that's all it needs to be the visceral rollercoaster ride we all expect.

In this almost perfect screen adaptation, the lingering question is the most important one: what caused such madness?

Unfortunately, left alone on the big screen, distinctly thin characterisation and a plot that looks like a distended television episode, let the new crew down slightly but there are still enough classic moments to keep fans happy.

The one saving grace is Lloyd, who gives a terrific and lively portrayal despite some horribly sentimental lines. He is the movie's guiding star, a lone bright light in a string of dud bulbs. Otherwise, beware.

Ridiculously good.

Although this may sometimes appear to be simply a bawdy soap opera, first-time director Prechezer injects such joie de vivre into proceedings that it scarcely matters.

Undemanding, entertaining and thoroughly enjoyable.

As frustrating as it is rewarding.

The big surprise and highlight is not in the clumsily structured, jerky plot of the monotonous mood but an uncredited Robin Williams, actually chilling as a mad bomber anarchist.

Baz Luhrmann takes the audience on a unique ride through one of the Bard's best-known texts, illuminating the story, occasionally subjugating the language but always delivering a vision that is bold, brassy, hugely inventive and accessible and, in a strange way, just right.

A brave, powerful, far from comfortable and distinctly English affair that bears all the hallmarks of a labour of love rather than an example of intellectual folly.

After bowing to Hollywood studio demands with Girl 6, Lee has gone small, lean and provocative again with this smart, multi-layered take on the African-American experience.

No fun at all.

Jordan has, though, made an important film, based on the wise predication that only through understanding can come peace. And if that sounds a bit pompous, it's also a damn good trip to the flicks.

Most of the fun comes from the Davis/Jackson pairing and some frantic action scenes, though problems include too many "meanigful" close-ups of cigarettes being lit and booming (appropriately) sound.

There are effective moments, a dime clutching tot watching an ice cream van plough gently into a garden wall after its driver has a heart attack, gives a stylish laugh, but at the end of the day perhaps a trip to the bar will be more fun.

You will jump out of your seat then wince at every kill, but you won't leave the cinema thinking you've seen a classic. Which is a crying shame.

Beautiful and original.

Lovingly designed in black and white, and played with a nice sense of irony, this offers the not unappealing spectacle of gorgeous, funny, clever women making fools of hard-boiled Mafia guys.

This is a lightweight but utterly loveable affair which proves Hanks is as assured behind the camera as in front of it.

As the plot gets even worse than that of a bad serial killer movie, not even the OK fight scene at the end can redeem it.

Unfortunately shallow characterisation, a script so laid-back you can almost hear it snoring and the occasional outburst of hokey dialogue lead to a movie a good deal less charming than it thinks it is.

But what starts out so promisingly with some witty one-liners loses itself in the middle and finally descends into a slapstick routine that cries out for a touch of sophistication.

The film's real strength is the way it sounds, with Ry Cooder's jangling score competing with thunderous gunplay for the shell-like's appreciative attention.