Utter, unforgivable bilge.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

Enjoyable, if slight.

Rigorous adaptation of the notoriously "difficult" play.

Warm but unassuming family comedy.

It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.

Even the excellent Gong has a tough time trying to twist her character into a tragic heroine, while the utter despair to which sympathetic characters are condemned suggests a significant point in Zhang's career, but does nothing to relieve the viewer's ennui.

Long but consistently engaging biopic.

On a scene by scene basis, it is mostly great fun but suffers from a contrived script which repetitively drags characters back to the eponymous magical board game for another effect-producing throw of the dice.

The City Of Lost Children is as great a film as you thought "Chitty Chitty Bang Bang" was when you were five years old.

Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.

Sugary enough to induce immediate diabetes, this is not one for cynics.

This is a valiant but overcomplicated Western that aims to redraw the lines on Western mythology: with heroes as mere humans, and heroics as distortions of the truth.

Just perfect. Script, character, animation....this manages to break free of the yoke of 'children's movie' to simply be one of the best movies of the 90's, full-stop.

Of course it's hokey and silly, but Reiner really knows how to skirt potential schmaltz and there is a political backbone to the piece which gives it reassuring depth.

This is the best bond movie since "On Her Majesty's Secret Service".

Staggeringly laboured though this premise may be, it also has the potential for some lightweight farce to pass the time.

Although there are some great moments (one for Nicholson recalling the toast scene of "Five Easy Pieces"), Penn's intentions lose their way.

Carrey tries hard but the success of his excessiveness has always been down to pegging it to good plots and good partners.

There are few surprises on offer here; the comedy is engaging without ever being side-splitting, the dramatic conflict convinces without going overboard, and the denouement, feelgood as it is, can be spotted a long way in the distance.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

It must be hard for actresses as unconventional and gutsy as Weaver and Hunter to find scripts worth making. Although this offers them both meaty parts with plentiful neuroses and snappy lines, it is otherwise a completely mechanical load of old cods.

While this may not quite be a stake through the heart, Wes Craven's curious mix of the comic and the horrific is another nail in Eddie Murphy's career coffin.

As a stylish black comedy its uncompromising nature should be applauded, though as an indictment of the hopelessly violent American society, the message gets lost.

Meat and potatoes teen drama.

From the visceral plunges of the first person mind clip sequences (including a terrifying, controversy courting rape sequence) to the overwhelming finale this is a, literally, stunning event. Some directors can, thank God, still make you experience films.

Jade tries so hard to be a serious, lush noir but, like the cheap sex it revels in, it is ultimately a hollow, anti-climactic experience.

Compared to similar genre offerings, this ain't much cop. But standing alone, it's an entertaining and amiable film.