With suitable suspension of disbelief this makes for agreeable enough nonsense.

As a barrel of easy, unsophisticated laughs, Kingpin delivers in spades.

DJ Audrey Wells' crafty screenplay brims with truths about the sexes, providing great lines for Garofalo, and great business for Thurman's confused waif, and cranks the feelgood factor up so high it's almost off the scale.

A film unlikely to do much for either the serial killer genre or motorway services tourist trade.

Sloppy crime epic.

It's all a little too coincidental for comfort, and surprisingly short on laughs for a comedy, but nonetheless this is a light, well-meaning flick, improved considerably by Lake's scatty heroine.

Not to everyone's tastes then, but for fans of the show - big, big laughs.

Here's a film consisting entirely of things you've seen before. Especially indebted to the hardly classic students-on-rampage sagas Class Of 1984 and The Principal, it even takes its title from a forgotten Amanda Donohoe DTV movie of a few years back. Furthermore, it's choppily directed by Robert Manel (School Ties) and toplined by the still-in-decline Tom Berenger.

This is - gasp! - a Hollywood movie actually daring to bare its teeth at silly American flag-waving.

Fear, a sort of pubescent Fatal Attraction, is derivative and often risible, in the competent hands of Foley it's also highly enjoyable.

The vocal cast are great fun, and the animation is smooth and vibrant. Except for a few treacly songs, this is great entertainment for all.

From its baddie-eviscerating opening sequence through innumerable car chases, shoot outs and tongue-in-cheek dialogue exchanges, this is exactly the kind of film that James Cameron would make if they ever let him through the Disney front gates.

Not fractionally as clever or as fast-paced as the television series upon which it's based.

It may not be to everybody's taste, but this is a daring antidote to its more saccharine cousins.

Vintage Lee visual flourishes and a couple of chucklesome fantasies spoofing a 70s sitcom and blaxploitation flicks make this more watchable than the infuriatingly pointless content warrants.

The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.

If it weren't so darned "sincere" this would be an unmitigated bird-brained delight, but it undoubtedly remains a genial crowd pleaser.

Almodóvar lets rip with a story of great emotional intensity, while retaining his signature stunning visual style and a central performance quite unlike anything previously seen in his work. A potent and strikingly well-delivered combination.

At barely 70 minutes long, this still manages to stammer and stall between the meaningless atrocities. It's time this series met Abbott and Costello.

Painstakingly shot, but emotionally fallow.

This is amiable enough and perhaps one shouldn’t expect anything more from the team that brought you Police Academy (writer Hugh Wilson) and Major League (director Ward). What really lets this down, though, is the uninspired plot and one-dimensional characters. While it’s true that this was never going to be a high-brow evening at the pictures, the air of familiarity it leaves behind proves to be a major disappointment.

Judged by any rational standards, Rumble is absolute bollocks, but it at least has some pretty darned amazing Chan fight scenes.

This isn't afraid to be a horror movie.

In an era not exactly short of quirky bungled heist movies, Anderson and Wilson take an interesting tack – coming in late on lifelong relationships, and showing us the pay-offs to friendships and resentments that have been simmering for years.

The real surprise is that it's a lot of fun, with Sandler becoming more personable as the film progresses, and a couple of truly side-splitting scenes.

The sight of the Muppets making their first movie appearance since 1992's Christmas Carol - with no technological wizardry or flashy special effects applied to update the simple but effective puppetry techniques - proves to be a sobering experience. And the attempt of Jim Henson's bug-eyed creations to keep up with the times results in a breezily entertaining yet old-fashioned brew.

Charismatic performances push this into a higher bracket of political thriller.

The film really succeeds with its warm treatment of ordinary hang-ups - no life-shattering revelations or pain repressed since childhood, just the genuine, everyday trials of life.