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There's some great work in the first half of this film, with a smart script and decent performances all round. It has the makings of a really strong thriller.

It’s all likely to bore even the teenage boy target audience who’ll have outgrown the eponymous toys by the time they might stand a chance of being diverted by this tripe.

Ridley Scott's 2nd century extravaganza dies during those pauses between blood, sweat and fear.

A masterpiece of restrained filmmaking

Alongside the extreme and dramatic aspects of this story are all sorts of insidious little details which show the harm done by this kind of thinking in day to day life.

The eventual climactic monster showdown is everything a Godzilla fan could hope for.

Where Goldeneye stands out is when it challenges the typical Bondian blueprint.

The odd structure doesn’t always serve the film well, but Ryder is impressive, disappearing into her character in a way she has rarely managed to do elsewhere.

All this window dressing is just sleight of hand; pull it aside and there’s no movie there.

Good Night, And Good Luck proves that it is still possible in the cinema, if not in television, to inform without being boring and entertain without condescending.

It is only after leaving the cinema that questions come bursting to the surface, not that they undermine Dr Niro’s magnificent achievement behind the camera

If you watch one western in your lifetime, make it The Good, The Bad And The Ugly.

Donner's era-defining adventure is at once lighthearted, serious, scary and lots of fun.

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

The plot is thin... but the highly choreographed songs make up for it big-style.

One of the finest book to film adaptations of all time.

A bravura piece of work.

The young cast is mustard.

The real pleasure of the film is in the non-stop parade of funny, well-observed scenes and killer lines of dialogue.

The problem lies with the script, which is credibility shy and littered with loose ends.

When the sentiment ways us down, its Johnson who keeps us watching through sheer presence.

This derivative drama might have worked quite well as a four-part mini Sunday night series for the BBC. As a film, however, it fails on almost every count.

What does it mean to be a real boy? Perhaps the answer doesn’t lie in flesh and bone.

There is an element of Dostoevsky in modernity that helps to channel and control the enigmatic and philosophical messages throughout the film.

A bit long and doesn't have the polish of classic musicals.

This is a blockbuster which puts the emphasis firmly on entertainment by showing its heroes enjoying their roles, not suffering through angst.

If the truth of Her Majesty's Pleasure is a kick in the balls, or a blade in the back, you may be excused for thinking that you have been here before.

More clumsy corpse than captivating cadaver.

Without the girl the film might have slipped under the radar. With the girl it takes off.

Deschanel is a very capable actress who has been crying out for the right script, but this isn't it.

As propaganda for girl power, it weakens its impact by being twice as aggressive as the boys.

The subversive narrative, constantly challenging audience expectations, was hugely influential in its time and still makes the film a lot of fun today.

The domestic setting has a decent ring of truth and Kelly's high energy and Keating's winsome smile will go a long way with Mamma Mia fans.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

In Gone Baby Gone, Affleck transposes Dennis Lehane’s searing novel about child abduction to the big screen without sacrificing either its dark mood or moral ambivalence.

Comedy this dark is a rarity. It deserves to be cherished.

The verbal humour stands test of time a lot better than you might expect.

Berry is watchable, as always, but isn't exerted, while Cruz and Downey are wasted in small bit parts.

Weitz wisely has no time for fluff - these are clever women charting tricky territory and spending 78 minutes in their company is an easy choice to make.

Don't let Knoxville's Jackass pedigree put you off - he can be subtle as well as gross.

Despite its age, The Grapes Of Wrath remains watchable throughout and is a highly effective piece of cinema.

The style is confused

A satirical combination of dry humour and clever sleuthing.

This is Dante's masterpiece.

An immensely likeable and enjoyable film.

A modest yet impressively assured psycho-mystery.

Overall, Guardians of the Galaxy is good fun.

Writer/Director Todd Stephens shows no dramatic flare, either in charge of a pen or a camera.

What's fascinating about Gypsy Caravan is the way Dellal becomes involved in her subjects' lives, enabling the viewer to do likewise.