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Scott wrings out every last drop of suspense from the film.

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

This is a film which is both thoughtful and surprising.

In the dark no one can hear you die

Basinger can't run. Her acting is lame as well.

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

It's never dull and always looks good, although the Sixties have become the Fifties - not a hippie, or civil rights marcher in sight

The film neatly encapsulates the frustrations provided by its director: talent is displayed and interest grabbed, but in the end there’s only mild dissatisfaction and a sense of untapped potential.

A decent concept and incredibly impressive special effects are irreparably jolted by a shoddy script, one-dimensional plot and sluggish pace.

It's DoA meets The Wizard Of Oz with Matt Damon as an irradiated Dorothy.

Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

The film continually and cleverly explores the line between fiction and reality, falsehood and authenticity.

Fassbinder’s technical skill is, as always, flawless.

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.

The film is ludicrous and wonderful. It has genuine eccentric conviction.

I had grown a beard by the time anything the slightest bit interesting began to happen.

Ray Winstone really should have known better, though his accent – American Deep South via London East End – is possibly the funniest thing in the film.

Judging by the violence of the crimes, the killer cannot be taken seriously when finally he is exposed.

Portman captures something so rare that it defies description.

They do, it seems, still sometimes make them like they used to.

Christopher Lambert's soulful performance creates real emotion where the film might otherwise have descended into camp.

Gibson's courage captures criticism. He leaps at the role with such raw excitement that comparisons are superfluous.

The darkness in the film is balanced by humorous observations about the way that kids in general tend to take their support frameworks for granted.

The subtle sense of humour Irons portrays, as well as superb comic turns from Keith Allen and Simon McBurney as Kafka's impish assistants, strengthens the film's absurdist undertone in keeping with the traces often encountered in Kafka's novels.

Manizha Bakhtari may not be a household name but after watching Natalie Halla’s documentary you’re likely to think she ought to be.

While both McGregor and Diaz are watchable enough as a likeable loser and a redemptive bitch, there's never any sense that they're 'made for each other'.

Has its moments of genius.

The Return Of The King is too long and slow. It has about five endings.

Gentle, predictable, slow and safe, with a laudable message.

Original, explosive and dense with social criticism.

For a feelgood movie, it is surprisingly slow.

Has an interesting script by Murray Watts, a wonderful sense of place and an imaginative use of flashbacks, where a painterly technique emulates memory.

Good, light-hearted Sunday evening fun.

Jim Isaacs's creatures are remarkable, as is the film - unique, disturbing, wicked.

Hugely complimented by Smith’s performance and kept in line by an intelligent script from Steve Conrad, don’t be fooled by the trailer, or the poster. There is nothing soft about this.

Comes as something of a disappointment, this is the first Pixar film that one suspects could have been done live-action.

Renaissance is blessed with a script that not only feels like genuine noir rather than a hastily written pastiche, but also is not subordinated to all the visual razzle-dazzle.

Another example of a film which looks good, sounds good, has a great cast, and is utterly boring.

The acting performances, without exception, are excellent.

There's much here that recalls Ken Loach's I, Daniel Blake, but Mark Gillis' film takes a very different direction and is, in its way, much more subversive.

An unusually intimate, exploratory film underscored by dry humour, Sky Peals has an atmosphere that you won’t find anywhere else.

An awful lot of fun if you like that sort of thing.

At first captivating, the endless litany of inconsequential detail and forced humour soon begins to wear.

Godber's script is as predictable as sleet on a waterlogged pitch.

Thought provoking and well acted.

A dreary looking film, without any visual or storytelling flair.