Frankie & Johnny is a salutary reminder of what happens when two Hollywood stars, no matter what firmament they may inhabit, are lumped together without any real storyline, subtlety or sex.

As a psychological drama, it's a sophisticated, gripping piece that unusually leaves you wanting to go on past its unsettling conclusion.

Dynamite action. This is a good bet for a night with the lads. And weedy girlies can at least wake up every ten minutes when Denz takes his top off.

Fans of the Say Anything/ Running On Empty school of drama could do a lot worse that give this one a go.

Although adequately put together, this is entirely unnecessary as a movie, with nothing to add to its limited interest sub-genre, no surprises at all in its by-the-numbers script, and no credit at all to the various servicable members of the cast.

A reminder of the astonishingly kinetic talent that John Woo maybe still possesses, this at times is on the verge of melodrama, but rescues itself from the brink with some fine gunplay.

While [Penn] has all the heavyweight America-gone-sour themes and confused characters found in roadside movies like Five Easy Pieces, Electra Glide In Blue or Thieves Like Us, he misses the eccentric and exciting spikiness that made them more than just gloomfests.

You know Freddy may or may not be finally dead, but he's looking pretty damn tired.

This is an infectious musical story of rise-and-fall.

No award winner, but at least it delivers the rubbishy goods.

The ambitious, initially intriguing Dead Again fails so spectacularly it may well become the fetish of a camp cult.

For a while, its crassness is amusing, but as the plot sets in, it gradually turns into a stultifying bore.

The allusions and illusions are just a treat until about two-thirds of the way in, when a genuinely shocking development takes the film off into psycho-horror that is almost as baffling as it is unsatisfying.

Van Damme's doubling up merely tends to make this movie, co-written and co-produced by the self-styled Muscles From Brussels, twice as avoidable as it would otherwise be.

While this combination of Michael J. Fox, light comedy and uncomplicated values must’ve looked fine on paper, on screen it doesn'’t quite make the grade.

Life stinks, Brooks' character stinks and the film, after all the Brooks magic in the past, stinks.

One of the most worthwhile sequels of recent years, maybe funnier than the original as it intelligently expands the potential for the surreal and it ties up all the loose ends managing, quite remarkably, to give pointlessness a purpose.

The film not only lives up to its "Increase The Peace" subtitle but by refusing to overtly moralise puts its concerns across with astonishing impact.

Regarding Henry is ultimately just about bearable thanks to Ford's sheer presence and the occasional reminder, the first 20 minutes in particular, of what might and should have been.

This unconventional film will offend anyone looking for a plot, but Linklater's smart observations speak volumes.

Because it is a sequel, it's less satisfying than the more idea-driven original, but this is still top-flight kick-ass entertainment

Take an uncharismatic leading man (Bill Campbell), an obviously pre-Oscar Jennifer Connelly, a scene-chewing Timothy Dalton and action that doesn't start until halfway through the film and what you have is one of 1991's more disappointing summer flicks.

With so much money and talent at work here, though, this latest incarnation of the legend is considerably smaller than the sum of its parts.

Witty one-liners one-liners crackle and cowboy cliches are given a good kicking as the three stars give excellent accounts of themselves.

Amusing fluff.

Not quite the classic that Spike Lee had been threatening to make for so long, but, after a return to form after Mo' Better Blues which proved a huge disappointment.

The trouble with spoofing soap opera is that its dramatically deranged conventions - dead characters resurrected, hitherto unknown progeny claiming birthrights and bedrooms, characters metamorphosed into new actors - are already so absurd they are hard to send up any further.

What director Lehmann has made is essentially a multi-million dollar cult movie with great effects, a witty script and some good performances, but although some of the eccentric (and occasionally slapstick) humour may not appeal to a mass audience, it is certainly one of the more original blockbusters coming out this summer.