This has some very, very funny bits...interspersed with a very slight film.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

Sweet but predictible angst-ridden Brat Pack outing.

Erotic at times, certainly, but that's down to the appeal of it's stars and not the minimal clean lines vs. heavenly bodies approach of director Adrian Lyne.

A stunner of unrelenting tension interrupted by action, violence and gore.

Greater drama and prehistorical weight are to found in the earlier Quest For Fire or the BBC's Walking With Cavemen, and without so much as a trailer for extras, this feels like a relic.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

Just as the film captures a world (Imperialism, hunting, colonialism) that has faded away, so this film feels like one of the last of it's kind.

Gilliam's dystopian epic remains among his best, blending his trademark visual inventiveness with a vicious brand of social satire. Unique and essential.

Only distinguishable from the original movie by its obvious cheapness.

The young cast, which resembles a collection of Gerald Scarfe illustrations, acquits itself reasonably well, but is too ordinary to be heroic. And, once action is introduced into the mix, Barry Levinson'’s direction falters.

The jingoism is blindingly awful, but by the time of the showdown, the film has descended into an unaware parody of itself.

More style than substance here but what style it is and what little gems of cinematic moments collect together in this enjoyable ensemble.

This hastily-produced sequel ignores the dreamstalking premise that had made A Nightmare on Elm Street successful and reverts to the overfamiliar possession story.

The main problem is that the supposed good guys are all such reprehensible toads it’s impossible to care whether they get to bring down Willem Dafoe’s charismatic, polo-necked super-crook.

Re-Animator remains a splashy hark back to the glorious 80s love affair with all-things bloody — to the point that Gordon was convinced he'd used more fake blood than anyone else in the history of horror.

Joe Eszterhas conceives a winning formula, and this is perhaps his best film.

Conceptually, this flop has potential for the satirisation of military responses to an alien threat, but it ís wasted in a loose script whose weaknesses are all the more glaring for the film's inability to exploit the power of absurdity.

Martin Scorsese’s take on NYC puts a hip spin on Joe Minion’s cleverly constructed nightmare.

Essential, enormous fun.

Not only do the pair have to prepare for the upcoming race, but, hey, they also have to deal with a hysterical mother, a dying father, and the knowledge that one brother is destined for the same fate as pops. Not quite as sickly as it sounds, with a fair few hints of the onscreen magnetism to come.

Everything from the style to the casting feels grubby and worn.

Burton's first feature revels in the weird, the unpredictable, the infantile and the absurd. A dazzling debut.

Distinctly predictable offering from the ever-overworking John Hughes, who has taken a step back from his previous work.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

It's an intelligent, well-written, excellently played movie, with top flight gore/horror effects, perverse humour and a provocatively bleak vision. Also, it has the world's first true zombie hero in Bub, who listens to Beethoven and eats people.

Engrossing western which inspired a huge genre revivial.

Disjointed but it still rocks.