A bizarre, intriguing combination of political allegory and old-fashioned paranoid horror.

Mamet’s gem of a movie, with a great final twist, goads the Godfathers with just as much invention and wit as the much higher profile Married To The Mob.

It's incredible that a film could be so closely patterned on Carpenter's still-thrilling original movie and yet be so stupid, unscary and plodding as Halloween 4 is.

An embarrassing mish-mash of comedy and horror which fits neither criteria.

Foster is simply fantastic as the tough Sarah, unshakeable in her belief that justice has not been done and that she has a right to demand it. McGillis, from a slow start, builds beautifully and by the time the action has switched to the courtroom, she has shed her starchy persona for a true advocate's passion.

Little atmosphere and no surprises.

A compelling mix of music and misery as Bird flushes himself down the can.

Paul Schrader's intense drama pulls out all the stops.

A small film, but fresh and immensely charming.

Exposing the bleak reality of a supposedly more innocent time, this inspired blend of musical and melodrama succeeds in being both fond and forlorn, artistic and authentic.

Despite Lumet's home-spun pincer movement on the espionage/conspiracy genres, cliché still sneaks up and nips the film into submission.

For anyone who appreciates artistic integrity and is interested in genuinely independent films, the prolific and highly personal work of John Sayles is essential viewing.

Jonathan Demme's follow-up to "Swimming To Cambodia" is a typically entertaining diversion.

Surprisingly watchable for the third sequel and despite its general predictability it's entertainingly inventive.

This was controversial at the time and that put alot of people off, believing that the film was probably all hype, but this is a respectful and complex work of fiction around the concepts of the biblical character and his life.

Good idea to cast the brat pack in a Western but this was badly realised and altogether a bit flat.

A mercenary display of product placement and a bad advertisment for filmmaking.

Cruise oozes as much charm as in Top Gun and The Colour of Money, but the mix of bar-acrobatics and Caribbean love isn't anywhere near strong enough to get you drunk.

Getting the best out of a middling novel, Romero finds new, less gruesome avenues for his skills.

Landis' latest keeps you laughing not with it's originality (of which there is little) but with it's confidence to out-joke it's predecessors on this much-trodden ground.

Entertaining family movie for rainy nights and Christmas holidays.

Ultimately lost in it's own contrivances, Big Business still manages a few laughs thanks to it's big name leading lady.

As a crowd-pleasing comedy it works. But it really could have been so much more.

Strays slightly from the formula and therefore loses some of its mindless fun credentials.

None of the energy of Mick Dundee's first foray has crept into this sequel, despite it being so close on the heels of the original. A must for lovers of the weathered outback and the even-more weathered Paul Hogan only.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

A no-holds-barred assault on hollywood cop sensibilities that could have benefited from more comic diversions.

All pout and pose, with no spine to speak of; a beast with no back.