Keaton handles her appealing ensemble, the early 60s period and child's perspective of tragedy, love and reconciliation with a sure, gentle hand.

Not Lee's finest but intriguing nonetheless.

Despite the stars best efforts this is neither funny or original.

Without a doubt, hard hitting and thoguhtful, but Clarke's style here (as it would continue to do) hints at something altogether more disturbing.

Good ideas. Average film.

The filmmakers try to solve the problem of turning an experience which merely consists of a series of fights into a story by... ignoring it, presenting a film which merely consists of a series of fights.

Pfeiffer's performance supersedes any of the material, but the rest of the film is a seething mass of clich's despite the "true story" origins.

Pretty as a picture, but emptyheaded as hell.

Quality premise, poor execution.

The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.

As bad as cinema gets.

Combining farce and tragedy in equal amounts, DiCillo has made a film that should appeal to anybody who has ever had a particularly rotten day.

Oz's movie is well intentioned if a touch too heavy on the PC side of things, but ultimately proves just too uninspired.

Sound silly? It is. Very. But it's also highly enjoyable, incredibly slick and a damn sight more entertaining than numerous other bombastic actioners. Bogosian makes for a splendidly deranged villain.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.

Despite the ridiculous premise and casting this is still a pacey little sci-thriller.

The three leads make a decent fist of it, but they're somewhat let down by a script that fails to sparkle and a less-than-perfect balance of action and emotion.

On such a limited level this delivers; if you take the kids, leave them to it.

It's a war story with all the action removed and moral conflict inserted in its stead. That you're no longer allowed to boo is bad enough, but asking anyone to root for this bunch of drips is adding insult to injury.

If you can see beyond the eye-scorching neon and don't mind the desecration of a superhero icon, there's a few crumbs of enjoyment to be had.

What begins as mildly intriguing stuff with some genuinely unsettling moments, quickly melts into a plot so confusing that it almost begins to look as though the editor was taking some mind-altering substance.

Streep and Eastwood's chemistry makes the film.

It's aimed squarely at the tinies, but there is charm enough here to make it bearable for adults too.

Gibson's future-world may be a cold one, but it should never be seen as a dull one; this is a missed opporunity.

Soppy and girlish in the extreme, this should keep even the tiniest viewer rapt, while all too many adults may fall victim to an inexplicable bout of eye-watering long before the closing credits.

Despite a final, tacked-on helicopter denouement, it remains a gripping, relentless, supercharged slab of fun that knows no bounds - New York is its playground and the sky's the limit.

It's hard to care about the characters in this defiantly downbeat drama.

Equipped with liberal helpings of square-jawed top quality Hollywood thespianism, and that expensive, highly commercial Tony Scott gloss-finish, this submarine-set mutiny thriller is about as good as it gets.