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Scruffy and scarred and only inadvertently dashing, Crepsley has none of the glamour generally associated with vampires today, though John C. Reilly has no difficulty in making him compelling.

Who does what and how they fit into the scheme of things requires a refresher course

For a Saturday night popcorn comedy with a darker edge, you could do a lot worse.

Closing The Ring delivers romance on an epic scale and seems destined to be the pride of some people's DVD collections, but beneath the gloss and the carefully crafted performances, it's lacking something.

The action scenes in general are well put together, and good use is made of the potential for things to go wrong in space without resorting to too many familiar devices.

The problem with Clown is that, beyond that premise, there really isn't very much of substance.

Vigalondo's film is very funny in places but the characters are undercooked.

Perfect family viewing for a lazy weekend.

This is better than good telly; it is excellent filmmaking.

The film itself has a fluid identity, part will they/won't they romance, part mystery and part unsettling thriller.

The story doesn't make sense.

One rarely sees a film this well crafted.

Altman has chosen the perfect cast.

Haggis weaves his tapestry with infinite skill, aided by exquisite performances.

The absurdity of an Irish character trapped within the structures of a US sitcom generates a surreal humour of its own.

The success of this film is in its attention to the sort of small human details that create the boundaries of our day to day worlds, the things we hang onto and use to define normality.

One of the better examples of a style of horror that was soon thereafter to disappear forever.

Roger Kumble's screenplay lacks the finesse, charm and wit of Choderlos de Laclos's 18th century classic.

Nick Frost's limited comedic talent cannot stretch to a faux South American dance devil with fire in his heels.

The novel angle it takes is the best thing going for this film, and it is a smart twist to an rote story.

The main problem is its sheer laziness.

This isn't a lecture about acting your age, nor is it an advert for Viagra. It's far more sentimental.

A refreshing change from all the hacked and mangled body parts that seem to be the only requirement for a horror film these days.

It's important, when criticising some of the more clichéd elements here - the dark versus the light, the Tolkein parallels, the quests - to bear in mind that this film is aimed at older children, not your average jaded film critic.

Charlize Theron is electrifying

Dark Shadows lacks any real drive or momentum, struggling to sink its teeth into a compelling story or plot

A sparse script and real sensitivity from the actors, none of whom overplay their role, only adds to the film's power.

Always charmingly frothy, even when the narrative threatens to salsa off with the fairies.

There's a lot packed into Justin P Lange's downbeat horror fable.

What you suspect will happen almost certainly will

What would it mean to live in a world where damnation was a very real and tangible prospect and yet, because of one's immutable nature, nothing one did could make a difference to one's fate?

The plot’s undoubtedly secondary to the characters, and once again Solondz has drawn a gallery of very recognisable and very flawed human beings.

An outstanding achievement: a rich, dark and complex movie

One can't help but think that there's a great film in there struggling to get out.

It is precisely Diana’s lack of intellectual sophistication that makes her interesting.

Lines like “Funny how when the chopper falls everyone just accepts it” are disturbingly prescient.

This is an ensemble triumph, somehow made all the more amiable by its general lack of earth-shattering incident.

The difficulty with all this is that too many threads are left hanging, becoming distractions rather than contributing to the atmosphere.

Curiously charming.

It's well executed (a phrase I use unthinkingly) and did make me laugh, but not enough to allay my concerns.

The landscapes of the film are detailed like [Hoepker's] photographs and one suspects that he had a hand in identifying interesting subjects.

Grapples with big themes in interesting ways.

Cinema in its most metal form.