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Littered with sexual innuendo that is about as funny as drowning kittens.

Some of the acting is just atrocious.

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

Money is wasted on explosions and stunts when it should have been given to a script doctor.

The film’s an unashamedly full-on exercise in manipulating your emotions, giving you an event every five minutes and keeping Kleenex in business.

The message is clear and the message is strong: How To Build A Fascist Movement works.

Though a little slow in places and modest in ambition, Plester's film is a real charmer.

Watching the film, which refreshingly tells the story from Wallis's perspective, you begin to wonder what on earth Madonna was thinking when she decided to tack on a framing device involving a modern Manhattanite's abusive relationship.

A look at the commonest fear nipping at the heart of Middle America. Not the war in Iraq, nor terrorism, but the breakdown of the family unit and how - and, indeed, if - people can cope with it.

Will have you laughing until you're sore.

The movie is so rotten, so lazy and so ineffective - it can only lower the IQ, or raise the critical barrier for anyone who sees it.

It is thoroughly endearing: a Jane Austen for modern times, exploring women and friendship in a way we rarely get to see on screen.

A middle of the road rom-com, with decent laughs sprinkled throughout.

Barry Markowitz's cinematography makes the bleak marshland look hauntingly beautiful throughout, without ever relieving the sense of natural menace that hangs over the film.

A straightforward, by-the-numbers sports movie designed to boost Kleenex sales.

Avoids the traditional booby traps and retains an energetic pace throughout.

Dennie Gordon's 2003 version resurrects the worst aspects of English class snobbery in a film that makes you squirm with embarrassment.

Clichéd, predictable and hugely sexist.

If Evils calls, my advice would be not to pick up.

The film exposes the haphazard working practices of TV journalism in dangerous places

Araki never digs deep enough, wasting the opportunity to expose her resentments.

It looks like a comic book pastiche of an idea by Ian Fleming’s chauffeur.

[The new footage] doesn’t severely blunt, and in some other cases enhances, the impact of a film that yields more with every viewing.

Indulges a form of slow motion romantic slush that smoothes the rough edges and gives the film a polished sheen to disguise its mediocrity.

The beauty of the look of the film is matched by the intensity and nuance between Juliette Binoche and Daniel Auteuil, playing together for the first time.

The performances electrify.

Consistently funny.

John Woo specialises in the spectacle of violent death and, after a while, this becomes monotonous.

It might be a tough watch that'll put many off early doors, but this is still top-notch television.

Well made and with an incredibly powerful central performance.

While having so little money may, paradoxically, have liberated Bakshi from studio interference, this freedom allows him to indulge in ideas that are, metaphorically and otherwise, away with the fairies.

The importance of cinema hinges on its power to communicate, and here we see human expression at its most raw.

A gem of a picture.

Pure joy from start to finish.

This is focused filmmaking, not so much elegiac as lyric.

There might be room for an interesting story here but sadly the film is very one-sided.

What we see is framed from the perspective of those after whom the chapters are named but we get the consequences of their visions too. We also see what they're afraid of, and how that intersects and overlaps is where Weapons is sharpest.

Achieves a level of emotional authenticity in that it leaves the lasting impression of a first stolen kiss in the dark.

The plot may be a pot-pourri of action cliches, but the film has a healthy sense of humour and an easy way with itself.

Whilst it’s never intrusive, the film makes room for the personal and, perhaps more importantly, for Herzog to meander, interlinking diverse ideas in his inimitable way.

The drama is delicately handled.

The film begins in a landscape of urban decay and it’s a long time before we see a horizon.

A true fan is reluctant to give up on a movie and yet 20 minutes into this, the need to escape is almost irresistible.

Mylod doles out cliche after cliche - drinks and debauchery in clubs, waking up with Mr Wrong - but never injects enough warmth or humor into proceedings to keep them fresh.

Whina is given very well-appointed and loving treatment in a story that’s so powerful it rises above the filmmakers’ more sentimental tendencies.

Here you will find that combination of style, charisma and viciousness which made Lee unforgettable as Hammer’s Dracula, but several shades darker.

The slippery nature of the morality on show coupled with the shifting sands of the narrative makes this an uneasy watch - yet it is also a beautiful and masterfully constructed film.

Not without its silly and over-the-top moments, Who Framed Roger Rabbit remains a very entertaining technical marvel.

Truly a milestone in British cinema.

Although this is a flawed film, it certainly isn't the disaster many had feared, and it will provide viewers with much to think about.