Here is a film where every frame feels individually designed, with saturated colour and symmetry reflecting the texture and natural wonder of the environment.

Forgive the blasts of nu-metal. Forget the blunted satire. And allow for the obligatory, they-have-our-blessing cameos. This, as Snyder puts it, is Dawn Of The Dead on "steroids". And it's a blast.

Yes, it's effectively a feature-length vid and, occasionally, the synergy of beats and visuals slip as the manga-shaped action doesn't quite match the tunes. But it largely works, the spectacular space-disco-opera sensibilities ensuring that Interstella shimmers with verve throughout.

Not quite as good as the original, but John Singleton's boyz-and-their-customised-hoods sequel won't disappoint. Settle back, hang on and smell that rubber.

The H2O theme fits in with the main feature, its tale of a clownfish searching for his son constituting Pixar’s most effective amalgam of comedy, artistry and emotional pull.

Die Another Day simply blows the competition away. If you want excitement, laughs and pure sex appeal, remember one thing: Bond's really do have more fun.

A gutsy, first-rate, full-blooded ghost story, as elegant as it is eerie and brilliantly realised. Blending terror with tenderness, Guillermo Del Toro has crafted something both traditional and original: a sun-kissed gothic horror.

Alluring and unnerving, Lynch’s horror-show reminds us how much cinema misses him. Watts is electric, too.

Apocalypse Now Redux is a reassuring rarity. It's an extended, re-edited version of Francis Ford Coppola's 'Nam masterpiece, with 49-minutes' worth of extra material spliced in, and the result is a genuinely stronger film. That's right - one of the best movies ever made just got better.

With a little money, a lot of innovation, and sweat-soaked stunt sequences backed by a thumping soundtrack, The Fast And The Furious reminds you just how exciting action cinema can be. It's everything that Gone In 60 Seconds should have been.

Fuelled by Cammell's whacked-out erudition and lensed with tyro brilliance by Roeg, this hallucinogenic deconstruction of identity writhes with sex, substances, ultraviolence and good ol' rock'n'roll.

Utterly enthralling, Kirikou And The Sorceress may be modest by Hollywood standards, but it has an enormous heart. Disney, please take note.

The ending stumbles, but not enough to tarnish this study of life lived under society’s radar.

A gloriously entertaining thrill-packer of truly epic proportions.

The World Is Not Enough is, without a doubt, a solidly entertaining chapter in the Bond franchise's chequered history. But while Apted fiddles with the format, this is far from an overhaul of the blueprint, and so lacks the whiff of freshness long-time fans may have been sniffing for.

In later scenes, Guadagnino blurs the boundaries of the various levels of reality on show, which becomes alienating. He may have been inspired by Fellini’s 8½, but this comes across more like sub-David Lynch weirdness.

All the elements of a modern Hitchcock-style murder mystery are brilliantly handled, while the sort of tricks usually deployed to misdirect the audience are intelligently positioned to draw us deeper into Mima's tortured psyche until fantasy blurs into deadly reality. The result is a smart, innovative and gut-wrenchingly disturbing film.

The fairytale-like teaser trailer for this latest interpretation of The Haunting was so seductively eerie that you couldn't be blamed for becoming excited. Alas, the movie itself doesn't deliver on this promise: it's neither eerie nor seductive - in fact, it's a sore disappointment.

A fair amount of decent laughs can't disguise a micro-thin plot which won't keep the kids from fidgeting. But it packs in just enough sci-fi/film references to keep fans amused. Possibly worth a look if you're a groupie.

There's something rotten in Denmark, as Mean Streets meets GoodFellas in Copenhagen, and while it could never rival either of the above, this striking, powerfully gritty tale about a week in the life of a drug dealer is still well worth seeing. A promising debut.

Impressively acted by the unknown cast, and eerily shot in black and white, Nolan successfully creates his own distinctive cinematic world, leaving en route a trail of objects which may or may not have any meaning.

Those under 10 may love Joe, but adults will find him less appealing. Theron almost saves the day, until she flounders under the weight of poor dialogue, dull direction and a role that seems to value her make-up over her acting.

Short, sweet and hilariously unpleasant, Bride Of Chucky packs in the blood and jokes tighter than Jennifer Tilly in a black rubber dress. Both are well worth watching. Don't bother to see the first three Chucky films - this comic horror stands alone.

Bolstered by a fine performance from Nahon, this even merits comparisons with Scorsese's Taxi Driver.

Past an impressive siege opening, everything in this `thriller' is terrible: the action, the supposed tension, the dialogue and the plot. Every opportunity to make it good is missed.

As noble as his ideals are, watching a series of interminably lengthy conversations inside a car makes for stultifying viewing. And the abrupt ending, which highlights the fictional nature of the whole enterprise, is mystifying.

Magnificent. A multiplex-friendly critics' movie in the stripped-down Blood Simple/Fargo style, but with a more restrained hint of Raising Arizona slapstick. A crime-sex-drugs-kidnap-bowling-nihilism mystery of the highest order.

A stylistic cross between Se7en and The X-Files, this overlong, rigidly boring affair suffers from a whole list of ailments.