The combination of Neil Simon and Mike Nichols has the pair of them back to somewhere near their best.

Pretty terrible sequel in every respect.

Vice Versa knows its place and, rather than attempting anything oddball, sticks close to the body swap formula in order to gain a decent smattering of laughs. No classic, but a watchable comedy that will find an audience.

Impeccably mounted and played, this is gastro-cinema at its most sensual and intoxicating.

Thoroughly charming, and thoroughly deserving of its cult status.

Frantic is Polanski's most satisfying film since Chinatown, and one of the best traditional thrillers to come down the pike in quite some time.

Appealing, emotional and with a strong enough performance by Rice-Edwards as the boy in his own little war-free world.

Good performances, but If you're looking for an uplifting tale of hope against despair, look elsewhere.

Louis Malle, possibly at his best here. The drama is subtle but affecting.

Entertaining and ambitious horror hokum, slightly tarnished by a disappointingly obvious "shock" ending.

It’s arguably every bit as good as Stanley Kubrick’s Lolita.

In another variation on a theme, this plodding drama may have its heart in the right place but, along side a gaggle of angst-ridden Hughes dramas of the period, fails to stand out amongst the crowd.

Average example of MadMaxploitation.

Road movies should be pleasurable and free-spirited, but Candy Mountain drags too much weight around.

One of Levinson's best films, and one of Hollywood's best films on the whole Vietnam subject.

The small screen doesn't quite do justice to the rich visuals but with an incredible story and fine performances, it is still a compulsive and moving epic.

You end up with this perky but pointless rehash of the cute alien format that became embedded in the late ‘80s.

In a film tracing the endless battles between style and substance, Brooks delivers both in abundance.

A classic screwball comedy that draws its inspiration from the 1930's genre. The jokes are quick and amusing enough to carry it through it's hour-and-three-quarters. Russell and Hawn have fun with the characters which comes through and makes it all the funnier.

As with Platoon, Stone captures the horrific essence of an environment and transfers it to us without the need for prior knowledge. Dazzling filmmaking.

Always a spoof rather than a homage, this comedy soon realises there's only so many laughs you can plunder from the heavy premise and the repetitive carriages.

Spielberg's technical ability is very clear, with much to appreciate on close examination.

Another aching heartbreaker of a film by Berri that absorbs and rewards the audience for sticking with Manon on her sun-beaten quest.

A warm, mature offering from Hughes, with Martin's restraint a perfect counterpoint to Candy's enormous (and enormously amusing) fooling around. You'll find sympathy here, but just as many calamitous antics as you'd expect in any Hughes vehicle.

Charming and watchable. The three leads show their comedy potential.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

Never managing to look more hi-tech or further on from 1987 than, well, Hi-tech trainers, this Arnie vehicle still runs it's bloody course without dropping many gears. A brainless, breathless thrill.

Only stony hearts won't be moved by Attenborough's vivid, if occasionally sentimental, evocation of a great well of human potential cruelly snubbed out.