Campion's grasp of her material is intellectually and emotionally assured, while Fox's extraordinary performance demonstrates an honesty, courage and power that's rarely attempted, let alone achieved.

Those who found, say, Internal Affairs, a "stylish" affair will be able to say the same of this, only it's more so. The more squeamish will prefer to take Manhattan Woody Allen style.

Schlesinger, using slick camera angles and direction that bear a striking similarity to those of the old master himself, manages to pile on that tension in spades.

An amazing exercise in character development which successfully shows the character as they were in the first film and as they are now. It is flawed in the basics, but often delightful in detail.

What this sometimes witty time-filler never quite manages is a genuine sense of confined menace. For that, you'll have to get aboard the original when it next plays on TV.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.

Walking a fine line between being a masterpiece and a dogs dinner, this movie strays into the latter, though giving some historical illumination to the movie-making process as it was in the 1950s. A white elephant.

Re-prehensible, re-heated, and certainly not re-commended.

A little slow and vastly outdated now, but nonetheless very watchable.

Fine performances in this highly entertaining biopic confirm Mike Nichol's status as the director Hollywood wants to work with.

John Woo's trademark style reached its zenith in The Killer, with its ying-yang relationship between a good-hearted hit man and an anti-authority cop. But underneath the Miami Vice tailoring, it's as much a doomed romance as a shoot-'em-up.

Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.

As the drama circles their inaction, this trio of excellent performances fills the screen with a form of spiritual exhaustion, and the film slumps into noir’s typically happy-clappy comeuppance of failure, betrayal and ruin. But the mood has caught on, and the film, stamped with a stunning visual emptiness, haunts the memory for long after its sour close.

Deliciously cruel to children, Roeg remains true to Dahl's underlying sense of real horror.

Surprising success with what could be a formulaic disgruntled teen movie. Fast paced with a satisfyingly unhappy ending.

It's plus points are few and far between - fantastic music, well worth buying the soundtrack for, and the occasional Moranis and Martin magic we would expect throughout - but such rare glimpses merely underline the sheer sogginess of the rest of the movie.

The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing.

Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.

While Gibson and Downey work well together, Air America does tend to be slightly overcooked in the cheap laugh department at the expense of a meandering storyline.

The Two Jakes is well-acted and looks fabulous, cinematographer Vilmos Zsigmond paints it eerily bright and shiny.

It’s tight, suspenseful, funny and packed with great music.

An affectionate and entertaining tribute to the Western - but, Estevez aside, Young Guns II doesn't exactly add much to the old genre.

A dark domestic comedy that continuously shirks the courage of its convictions.

A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.

It’s drifty, dreamy quality that, contrary to the film’s indie-cool ingredients, makes it eminently watchable and modern.

Marvelous supporting performances from scene-stealing Kirby, Maximilian Schell, Paul Benedict as the nutty professor and Frank Whaley as Broderick's quiff-coiffed room mate pile on the pleasures, but the sight of Marlon Brando on ice skates is surely the absolute treat in a film well worth rooting for.

A very pompous version of the kind of nonsense Chuck Norris has been doing in far less embarrassing fashion for so many years.

An exciting and thoroughly enjoyable, experience.