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The title suggests derring-do, when No Country For Grumpy Old Men would better set the mood.

One of the many reasons why High Fidelity is essential viewing is how well-observed it is when dealing with love and relationships.

A fascinating piece of work, mixing glamour and darkness and a lot of uncertainty.

The writing is unanimously superfluous bubblegum dribble. Yet Zac Efron displays a startling magnetic star quality and rises above it.

The film is worth watching for the good work from its two leads.

For all that the Hitcher is an ambiguous horror film it is also a spectacular piece of Eighties action cinema.

The sort of movie that Rob Zombie should have made by now and will no doubt wish he had.

Good folk horror is a rare treat and here it's blended beautifully with the less-than-glamorous experience of modern teenage life.

This is an excellent film, rewarding audiences with a slowly crystallising sense of dread.

Jones spares none of the gory details in his depiction of the way the West really was.

There are some movies that work best at Christmas and this is one of them

Hostage is a brainless movie, masquerading as an intelligent thriller.

Not since The Goonies has there been a display of spectacular home-made gadgets to equal this.

Ray Winstone has always been at his best in comedy, and here he excels.

What ensues is an odd combination of comedy types, which despite being more muddled than a frat house 'cocktail' still manages to maintain a level of charm.

It would be difficult to overestimate the quality of this film.

The House By The Cemetery will, as would be expected, offer viewers a shocking and gut-churning expose of Fulci’s directorial penchant for gore.

The house has an older past which, at her tender age, [Rebecca] has not reckoned with, and her discovery of this goes hand in hand with her developing awareness of the political climate surrounding her.

Robinson makes careful use of movement and perspective to keep us guessing whether the boil is real or a product of Bagley's disordered imagination.

Comparisons only categorise originality and this one stands alone.

Junk slush action fiasco.

Dominated... by a compelling, passionate, thoughtful and unforgiving performance from Denzel Washington.

Alison Ellwood may not be breaking new ground in the documentary form for her debut solo film but she handles the familiar workings of the rock doc with aplomb.

Above all, it is the narrative’s clear feminist leanings that remain a breath of fresh air, prescient then and still hugely relevant to the modern world.

Overall, this is more miss than hit, but there are some nice ideas that will appeal to genre fans.

Like many a film noir of its time, the plot is quite predictable, but the joy is in seeing how it all unfolds.

Although Danny Glover gets first billing and delivers a complex, compelling performance, this is really an ensemble piece, with great work all round.

If you go into this film believing in demonic possession, you are likely to find it chilling in places. If you don't, it's unlikely to change your mind. The more interesting questions are focused on Martin himself.

If you're looking for a double entendre, then Howerd will certainly give you one, but it's not enough make up for the plodding script.

This should have been an insider’s guide to laughter. It isn’t.

The characters of the animals are underdeveloped and the film is ultimately bland.

The film is heavy with sexual tension, primarily explored from a female point of view. It's also rich in humour, the two often interwoven to great effect.

Cynics may find it been there done that but for the target audience, this is wish-fulfilment romance to the max.

In the end, you care more about the acorn than the baby.

I've seen cooked spaghetti with more tension.

A fascinating psychological thriller.

While Framestore and Cadence have notionally brought the various creatures to 'life' they've not got that vital spark one would hope for.

The Andersons embrace theatricality in a way that works for them.

There are too many ideas, both verbally and visually, to take in before the ghost of Walt Disney has a spectral moment.

The strength of the film is its ability to suspend disbelief and engage the audience with its mastery of mystery.

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

Thompson exudes strength from start to finish.

Immortals could and should have been so much more.

Perhaps speculation is itself inappropriate here. Everything is focused on the present moment.

From the start, there is something different about this film.

The Inbetweeners is indisputably a very funny experience, with killer lines and creative insults coming thick and fast.

The Inbetweeners' real strength (and reason for watching) remains the accuracy with which it paints teenage existence in British suburbia.