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The whole film hinges on Ricci’s performance and as such it provides a means for her to demonstrate that she’s still got what it takes.

Brown gives the film the kind of iconic weight of past masters like Christopher Lee and Vincent Price.

The more dreamy the film gets, the better it is, the characters' conflicted feelings carried along by wistful scoring from Ian Hatton.

There's some excellent effects work to recreate stage-blood and mummery, some real moments of tension and fright, but with four credited writers I wonder if it's trying in too many directions.

This is a feminist film in every sense of the word.

Mouse Hunt is a cartoon without animation. It should have stayed drawn. Live action only bumps into the furniture.

The characters are crudely drawn in more ways than one..

Martin Sherman's script is witty; Judi Dench has terrific fun with Mrs H; Stephen Frears directs with sensitivity, not to say aplomb.

Made for HBO, the film demonstrates the high quality of some American television.

It’s really Lee’s performance which gives the film its soul.

As long as this zany crew of misfits continues to raise a smile, a laugh, even a tear, there remains a place for their alchemic power to turn on- and off-stage mishaps, arch pop-culture commentary and sly self-parody into entertainment gold.

Somehow, A Murder Of Quality draws you in to its clichéd story through the charm of its well developed and coyly satirical characters.

Its predictability acts like comfort food and the complete absence of surprise feels satisfying, like a Wendy's double burger with cheese.

This is a special effects bonanza on the lines of The Mask, with Lloyd hamming it outrageously and Daniels blundering about like a walrus in a tea shop.

This is a sudden and astonishing arrival for an adult actor.

The writer/director achieves impressively high production values for his short and is clearly a man who knows how to surround himself with additional talent.

It's a thin and sketchy experience.

Modern Love Is Automatic has so much fun stuff going for it I was really willing it to be a better movie.

An interesting documentary on a highly pertinent subject.

The plot is bonkers, the characters charming and the baddies brutally blunt

A really enjoyable piece of Celtic cinema.

The pace of the boat is as varied as the pace of the film, but while a boat becalmed is an opportunity for drama, a film that's lost its way is just tedious.

It is Hartigan's ability to deal in specifics that mark his films out from the crowd.

The concept is halfway interesting, the production so overburdened with explosive devices it might have been made in Iraq and the screenplay is as appetising as damp toast.

This made me proud that Britain can turn out solid, constructive comedy.

What raises the movie above the average is former Spin magazine editor Shapiro's journalistic eye, which ensures that all the angles are covered.

Unfortunately, the over complicated plot and plodding pace make this chapter of the world famous sleuth rather dull and frustrating.

A cat's breakfast has more chance of winning an award for neatness.

Maxine Trump, in her first feature-length film, shows admirable judgement.

My Accomplice is an enjoyable little story that bimbles along quite pleasantly and leaves one generally pleased for having watched it.

A warm and witty tribute to man's best friend and an odd couple love story.

Feelgood and inoffensive.

Kemp makes a virtue of his ‘going for a ride’ framework, so that the viewer has a short-hand indication of where each of the five segments into which the film is split will take them.

There is much to like here: plenty of action, dazzling animation and a score that backs up the action without being intrusive.

National Treasure is just plain boring. There is no mystery, or sense of discovery.

The film has visual chops but leaves too many threads hanging

Never Let Me Go arrives trailing a lot of hype and carrying a considerable weight of expectation. Happily, it more than delivers.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

. Walken is more pantomime villain than genuine menace and Depp spends the entire film looking as though he regrets signing up for it.

Well aimed at its target audience.

There is a weight of ideas here and they are sometimes too much for the script to bear.

The script has been tatooed on a fingernail. It is so small, you need binoculars.

The director does not put his name on the film. The script is by Fraser Coull. Let’s blame him.

Thayer's unrelenting impression of nails scraping down a blackboard meas that by the end of an hour and a half you'll be ready to kill Deb yourself if the zombies haven't.

Those members of the audience over the age of ten may find themselves a little undiverted

A good story that is well-scripted and solidly told and acted.

The Name Of The Rose presents the Dark Ages at their very darkest.

And so we get a very engaging, often suspenseful movie in Navalny, a record of the dangers that come with pissing off an authoritarian regime.

Simpson has a particularly good eye for landscape and colour.

This is a film about greatness and those who have it thrust upon them.