Search: Starring Christopher Lee

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

Corpse Bride is even better than The Nightmare Before Christmas. It displays the imagination of a man, haunted in childhood by the Brothers Grimm, with a twisted sense of humour, steeped in 19th century romanticism.

The sensitivity of Lee’s performance helps to draw out the ambiguities in Shelley’s work, and the moral complexities which, acknowledged or not, are a critical component of the story’s staying power.

It's a slick and intoxicating vision to say the least.

Perfect family viewing for a lazy weekend.

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

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

Still has the power to send shivers down the spine.

Constantly chilling and never less than eerie, this first colour outing for Vlad is undoubtedly the stuff of nightmares.

Could be a treat for discerning genre fans.

While clearly aimed at fans of Bond, there's a lot to sell this to those who are unfamiliar to the franchise.

Tellingly, despite all this extra material, the film does not feel slower and does not become boring. If anything, it’s better balanced, with a more fluid sense of momentum.

Easily the most imaginative, energetic and engaging children's film to hit cinemas this Christmas.

This is Dante's masterpiece.

It was lovely to see the film... I want to get the DVD so I can see it again.

The pacing is agonisingly ponderous: in the screening I attended two ents got up and left.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

More combat means less time for character interaction, and by the third act, Jackson has already shoehorned in more characters than the film can handle.

Has its moments of genius.

This is indeed the war of worlds

Diffring is strong in the lead, showing a side to his talents that he would rarely have the chance to use again.

The Man With The Golden Gun is deeply uneven and unsure of itself, but features enough impressive work to remind the viewer why the secret agent series is worth the effort.

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

Lee gives us a flavour of what it might have been like to encounter the man himself.

Overall, The Resident is a solid step in the right direction for Hammer, being an archetypal genre piece made with care and some style, distinguished by solid acting from reliable leads.

Arkin fully inhabits the role, never once falling prey to the self-consciousness which is the downfall of many a film of this type.

Numerous small changes work together to change the character of the battle.

Cushing, increasingly cadaverous with age, presents us with a character who may well be beginning to wonder about his own mortality.

Patrick Troughton turns in a splendidly OTT performance as the titular count's loony servant.

For a short while I thought this might be an entertainingly bad film. It isn't.

The film builds a historical and literary niche for itself which could be seen as pretentious in the extreme but which is carried by the excellent cast.

At a time when ghouls have been relegated to cereal packets, Burton resurrects an Edwardian fascination with horror.

Where is the magic?

Revenge Of The Sith is a reminder of what made the original trilogy so good; character driven stories, along with a pot-boiling plot keeping things in check.

Lee is on top form as the wild-eyed, cold-hearted villain, approaching black magic with a steely rationality that almost makes it seem like science.

There is more world building here than in any other part of the trilogy, and the additional material means it’s better balanced with character development.

Portabella's repurposing and reimagining of the elements at Franco's disposal creates something genuinely (and appropriately) otherworldly.

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

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

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.