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A series of pieces that each, in its own right, has some merit, but which together never quite gels.

Succumbing to rather too much melodrama in the final third, which undercuts the chilliness of what has gone before, this is nonetheless an interesting debut that promises better to come.

Not quite the eyeful it might have been.

This is not an erotic movie, true there are copious scenes of copulation... but Brass doesn't linger on them long enough for them to become titillating, he has to show something gross and/or bloody in the same scene.

It belongs on the big screen, to a world of cinematic sensation beyond lightweight blockbusters and under-financed independents.

Is this a film about loss and how (not) to cope with it?

A work of brilliance, painful as a punctured lung, fierce, uncompromised, operatic, sexual, startlingly beautiful and yet poisoned with evil.

There's some lovely family-driven humour in the script by Richard Bean and Clive Coleman delivered with great comic timing by the veteran leads.

Excalibur is a film whose sheer scale does justice to its subject in a way nothing else has come close to.

A simple idea, beautifully executed

Altman's great triumph is in galvanising the energies of exceptional actors into a living, breathing entity.

The news that the movie is 'based on real events' does not alter the tedium of the thing.

Sacha Gervasi's quick-witted Hitchcock discloses assorted desires of reinvention

Marinated in tradition.

Frankly, it’s a muddle.

Characterisation and incident appear thin.

Though the destination of The Last Station holds some interest, much of the journey is far too dull.

The plot can sink without trace, which it does, because this is all about the stars

Nearly 30 years later and John Mackenzie’s classic is still the yard-stick for any new entry into the genre.

It's not that the new crowd aren't fun, but they're a distraction from those of us who would prefer to spend more time with the best buddy double-act in the Pixar universe.

With an unchallenging plot, some interesting facts thrown in for history fans, and likable characters, this is an unpretentious, entertaining film which adults as well as kids can enjoy.

The film looks wonderful, but suffers from its own ambition.

The script by Peter Berry is sharp, tight, witty and intelligent, matched by supremely confidant actors, working in the Prime Suspect style of disciplined individuality.

A few contrived moments, such as the metaphorical stag the Queen spots on her estate, only marginally detract from what is otherwise a fascinating drama on previously uncharted cinematic territory.

Those with an IQ higher than Scooby's will run screaming from the cinema.

The reason this franchise succeeds is that it never takes itself too seriously.

Succeeds admirably in its primary thrust.

You'll be entertained, at least a bit, but that might be all of it.

The producers have kept what was best about the original, added some interesting touches and resisted the temptation to pile on the contrivances and explosions.

Changing the main character's sex from a man to a woman is the most obvious and radical idea Taymor brings to the table, and it succeeds in deepening several of the piece's key relationships.

Despite this period being so rich in potential subject matter, this admittedly handsomely mounted, nimble and quite funny film chooses to take a pretty much conventional ride to a victory-lap finish.

Elegantly put together and watchable throughout, but falling short of the potential offered by this fascinating case, Woman In Gold has the shiny appeal of Klimt's work but none of the depth.