It's easy to dismiss Branagh's Shakespeare productions as nothing new, but before he went on to more heavy duty fare such as Hamlet, he made this bright, accessible romantic comedy which still stands out as one of his greater directorial efforts. The cast are a joy to watch, while the beautiful location matches the romantic mood.

An average movie improved by Cruise's star appeal and accomplished supporting cast.

A surprisingly good and compelling film, that is made by its two leads.

Newcomer Mason Gamble manages to be terminally cute without getting on your nerves, and his reluctant friendship with prissy eight-year-old feminist-with-a-lisp Margaret (who tricks his friend into kissing her doll's bum and then taunts him with the "baby-rump-kisser") is simply hysterical.

This is an attempt to be both a high-octane actionfest and a satire on such films, the result of which is the weirdest concoction: the metaphysical blockbuster. No wonder it tanked.

Before John Woo went all Hollywood on our ass with the likes of Face/Off and Mission: Impossible II, he made several films in his native Hong Kong, this being arguably the pick of the bunch. Although not as slick as his later films, it's more inventive and stylised and with great early performances from Fat and Leung.

So the script and the performances aren't exactly Oscar material, but it scarcely matters given that the real stars here are the ILM-created dinosaurs, a miracle of modern moviemaking.

Continually clearing its throat to utter something profound about sexuality, this never quite delivers the speech, though its failure to fully engage the mind is made up for by its captivation of the eye.

Action filmmaking at its best; a career high for director Harlin and arguably Stallone as well.

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.

An enchanting story played out by a great female cast, particularly Cavazos as the poor Tita, and unique visuals from Arau. With equal parts melodrama, comedy, tragedy and cookery, Like Water For Chocolate adapts well from script to screen, unlike most Hollywood attempts.

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

It sets some sort of record for use of the expressions "nigga" and "muthafucka".

If you're after Sharon Stone in the buff, rent Basic Instinct. It's not a terrible way to spend an hour and a half but it just doesn't fulfill its potential. Stone and Baldwin try to get raunchy but find themselves in desperate need of a fluffer.

One of those rare things...a sequel that's funnier and more successful.

Scott Lee gives a surprisingly strong performance as the Inuit who falls in unrequited love with Albertine. If you can overcome the almost-too-coincidental fact that they are assigned to the same Air base several years later allowing them to be together again then this pleasing romantic drama could just be for you.

Although its politics may be shaky, this comedy still works thank to the charm of Kline and an excellent supporting cast. But it's more likely to provide warm, fuzzy smiles than belly laughs.

This plays up Lee's heroic accomplishments perhaps more than necessary, but it's impossible to deny the power of the basic thrust of his life story, or the spectacular fight sequences.

In this stereotypically-fuelled moralistic gangster movie, the plot is poor, the acting worse and standing at three hours, proves about three hours too long.

Witty, sharp and charming, this romantic comedy is exactly what's needed when Channel 4 aren't showing repeats of Friends. All three are equally watch able, each with their own reason for renting the apartment and each very different.

Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film.

It would be easy to slam this flimsy romantic charmer for its cloying whimsicality, but at the core of its misfits-need-love-too storyline lies a warmhearted charm so captivating that only the most hardened cynic will fail to be enchanted.

Despite its admirable strengths and the fact of it being a true story, there is somehow a failure to completely connect with the fierce boy, giving his unhappy and alienating youth an unfortunate air of unreality.

The performances are alright enough but the casting was a bizarre choice and it's just not strong enough to carry the premise.

It's hard to believe that a bunch of scrappy kids would really be scared of a big dog, which leaves the premise of this film floundering. However the kids prove to be plucky enough to give the film some kind of motivation but the direction lacks in humour or excitement.

As an unashamed B-movie, The Crush does what it says on the tin and entertains for an hour and a half. Except you feel kind of cheated by the supposed climax, with the build up proving more disturbing. Silverstone is convincingly equal parts Lolita and Norman Bates.