Much Ado About Nothing is side-show Shakespeare, neither vulgar nor memorable - it's a date movie for couples who read. [7 May 1993]

A sensitive coping drama after all, while still serving up that noirish heist flick with comic flourishes. That's some range, and in 99 succinct minutes too: Most pictures would be lucky to do half as much in twice the time.

Hopefully, after seeing this film, interest in places like Sea World will begin to decline.

Packs a wickedly satiric punch.

Even when the plots of sexual confusions, transgression and tragedy became absurdly complicated and arbitrary, there was always the mise-en-scène to die for.

The film, as entertaining as it is, doesn’t exactly further a genre that has been stale since the success of 2013 rom-zom-com Warm Bodies.... What’s promising about Scouts Guide, though, are its unlikely heroes.

While The Wave doesn’t quite match the saga of, say, The Impossible from 2012, it’s a film absolutely worth catching.

The complications of its story are found in the deep complexities of emotions and family relationships.

The detective plot is shaggy and never fully resolves itself, but the implications of the story resonate like a distant drum.

This means that Someone to Watch Over Me is a much more interesting movie (than "Fatal Attraction").[9 Oct 1987]

Perhaps the bravest thing here is Banderas’ reserved performance: Selfish, hypochondriacal and sadly cocooned, his fictional film director is not a flattering portrait of an aging auteur.

Superman returns, and he's far from inconsequential yet considerably less than super - just a demi-god content to forfeit our love for our like.

Like no other war movie you've ever seen.

Some will criticize the director’s choice to recount a collective struggle through just one individual, but Mulligan’s performance, coupled with a solid script by Abi Morgan, shows us just how much is at stake when a woman decides to wage war.

This three-hour opus, bearing only the eponymous title of Nixon, is an intriguing ramble through the social psychology of man and country alike. Indeed, the simple dialectics that both animated and marred Stone's earlier work are redeemed here precisely because they're invested in a single, complex personality - consequently, this film is more character-driven than any of its predecessors. [20 Dec 1995, p.C1]

Once again, then, impeccable visual detail and uniformly strong performances combine to create a polished, if slightly airless, result. [14 Aug 1998]

I Went Down is also a showcase for the directorial talents of Breadnach, who frames the actors and the action with polish and assurance against an unpretty Irish landscape rarely seen in the movies. If you liked Trainspotting and are looking for a quick and dirty cinematic romp, this is just the ticket. [24 July 1998, p.C5]

Watching 9 , we know how 8 feels. Sci-fi fans will find heaven in Shane Acker's feature-film debut.

In the hallowed Hollywood tradition of mindless flash, F/X turns the suspension of disbelief into airy entertainment. [7 Feb 1986, p.D3]

Adolph Green always said that they based the warm, maternal and loyal main character on Holliday herself; perhaps that's why she manages to more than save it, she makes it very worthwhile to watch. [21 Jul 1990]

The movie remains an embodiment of Spielberg's commercially cunning brand of clankingly retro filmmaking, despite the wit and charm brought to their Spiel-speak dialogue by the talented young performers, The Goonies is less a movie than an entertainment machine. [7 Jun 1985, p.E1]

Visually the film is a knockout. I'm not sure this will matter to the young adult audience, but the film is philosophically confusing.

The [final] battle is vast, and undoubtedly required thousands of hours of matching puppetry, robotics and computer code, but it is not without tedium.

The people behind Cocoon have taken many of the weariest of the cinematic cliches of the eighties and invested them with hearts and minds; from an unsightly chrysalis, a thing of beauty has been born. [21 June 1985]

The film's brisk pace is a bit wearing once the one-hour mark is passed, but the high energy and intelligence is quite charismatic over all.

Avenue Montaigne is not a film to be taken too earnestly, but it would be a mistake to miss its bittersweet undertones. The movie is as airy as a spun-sugar dessert, but Thompson's observations on the artistic life are both affectionate and knowing: Beauty and wealth, though inevitably compelling, are appreciated as means to humane ends, not goals in themselves.

When Malick reaches the end of Jaggerstatter’s story, A Hidden Life does reach something profound. Relief, maybe, that the film was over. But also a distinct pang that some filmmakers never change.

There's something genuinely exploratory and original here in the depiction of people being pushed into adulthood before they're ready.