There isn't a half decent performance to be found here, and his own daughter in the female lead is particularly awful. Also, a barely credible plot and uneven pacing don't help. Yet Argento's occasionally brilliant camerawork and the evident glee with which he sets about the decapitation scenes make this just about worthwhile.

This beautifully realised confection will delight grown-ups of all ages.

Underdogs are the grist of sports movies; even so, it's unusual to find a hero so ill-equipped for the task at hand. Directed with composure, but no great fervour, the film's conspicuously uninterested in American football, and much concerned with testing the limits and the resilience of the American dream.

[A] lamentable half-hour sit-com masquerading as a movie...No unexpected twists; very few jokes; not much talent. After the glory that was "Wayne's World", director Spheeris should be ashamed of herself.

Appropriately operatic, Chen's visually spectacular epic is sumptuous in every respect. Intelligent, enthralling, rhapsodic.

A soap for the slack generation, that'll strike a chord way outside the confines of the New Queer Cinema.

An American wrestling champ with two or three films under his belt, Hogan has an unusual combination of assets: brawn and an authentic American accent. He doesn't take himself too seriously either, which could prove his downfall - that and excruciating movies like this.

In its present state, the film veers unsteadily between overblown romance and a portrait of a disturbed and pained man as a wacky guy who's fun to be with. Small wonder that the director has disowned the release version.

An ecologically sound update of the classic '50s bug movie, efficiently directed by Tony (Hell-bound) Randel and featuring 'the vampires of the insect world'.

A melodramatic thriller which did surprisingly well in the US given its implausible straight-to-video scenario. Undistinguished.

Clearly a labour of love for co-writer, co-director and star Alex Winter (the other one in the Bill and Ted movies), this freewheeling, anarchic, gross-out comedy should satisfy the six-pack post-pub crowd, but it can't really stand up to sober viewing.

Young Mac is decisively upstaged by Wood, but the film's strongest selling point has to be a cliff-top finale in which the tyke's own mother has to choose whether he'll live or die. A summer camp classic.

Magnificent...Scorsese's most poignantly moving film.

His unauthorised investigation, with partner Jo Christman (Parker), is a routine affair, the film's familial and professional tensions sunk by a script that's all development and no pay-off.

Disappointingly infantile.

While confined to the futuristic prison interiors, the film works reasonably well; but once Lambert springs his wife from the women's section and escapes, the limitations of budget and narrative imagination start to show. As it moves away from the ensemble feel of the early scenes, this quickly degenerates into a part explosive, part sentimental star vehicle.

Uniquely weird, subtly macabre, and utterly compelling.

Phoenix is fine in an odd, transitional role, but Mathis (who looks more like his sister than his girlfriend) really steals the show with a bright, sassy performance.

The movie's firepower would shame the devil. It's what Hollywood wanted Woo for: bigger, brighter explosions.

As light and brazenly generic as Allen's early work. As a result, it is both unusually insubstantial, and, at least in the second half, extremely funny.

Frances Hodgson Burnett's much-loved children's novel could all too easily come across on screen as the last word in period fustian, but the unforced approach of Holland and scriptwriter Caroline Thompson pierces to the emotional core of a still potent tale.

Made for cable with many has-beens from hell.

Ford is up to par for the strenuous stuff, but falls short on the grief, anxiety and compassion, allowing Tommy Lee Jones to walk away with the show as the wisecracking marshal on Kimble's trail.

Never patronising his characters, Ang Lee combines comedy, both subtle and raucous, with acute social asides.

The crass Scots jokes are irresistible; Alan Arkin's cameo as a mild-mannered police chief is sheer perfection; and the cultish references to Beat poetry should please slumming hipsters. Like an exploding haggis, funny but extremely messy.

There are explosions, car chases, a climactic shoot-out, and a comic dog. Comedy and suspense sensibly packaged; but very old hat.

The ugly trio - Midler, Najimy and Parker - perform a show-stopping version of 'I Put a Spell on You' at a Halloween party, but otherwise it's slim pickings.

First-time director Stern - Macaulay Culkin's punching bag in the Home Alone films - gives a broad performance as the pitching coach who knows nothing about baseball. Approach with aspirin.