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This little gem has a narrative structure that Hollywood movies seem to have forgotten how to employ - all the ingredients for a classic thriller are here.

The premise pushes its luck in the street cred dept.

It doesn't have to be such a cliché, and Billy Connolly tries his damnedest to stop it, but the little guy versus the big corporation is as old as banana in your ear jokes.

Taken as a whole, this makes a fine and entertaining six hours of viewing.

It is hard not to be entertained.

Doesn't disappoint.

Fails to do anything that hasn’t been done before or better.

This Malibu adventure is passable enough trash but sadly lacking in teeth.

The bravery of immigrants, many of whom had take one-way tickets from the Old World and abandoned everything they knew in pursuit of a dream, is rightly celebrated here, but the film has a streak of naivety that distorts the story.

There is no escaping the weightiness of the subject matter and Movermann treats it with the necessary respect, but he also shows evidence of a lighter touch, which helps to alleviate the pathos and prevents the film sliding into melodrama.

Noelle's transformation from mouse to maniac is also hard to swallow, even with Eastwood's hard sell.

The production is flawless and the acting a joy. It

If The Midnight Meat Train starts with what sounds like a bog-standard serial killer premise, it quickly deviates into more uncharted terrains.

Lovely and thought-provoking.

It is exciting, sentimental, fast moving and utter twaddle.

It is the duality in the myth that makes Milius so fascinating, regardless of what you think of his politics.

A series that maintained its quality to the very last.

By treating the script intelligently, De Palma is following Kubrick's example.

The sex scene, like so much else in this film, is faintly ludicrous.

Director Celia Rowlson-Hall, a dancer and choreographer, is able to make visible through movement what harms the soul.

It is commendable that Gerard Butler, director Marc Foster and writer Jason Keller have tried to bring the issue of child soldiers to as wide an audience as possible - but though its heart may be in the right place, it never finds a steady rhythm.

Frank, funny and immensely entertaining, Magic Mike is a brilliantly bittersweet cautionary fable.

The screenplay is packed with absorbing detail.

The John Ford cliches clang against the Sergio Leone sloppy seconds with the hollow ring of a church bell.

Yates recognises Ridley’s skill with interiorised emotion and makes the most of it.

In telling the story of a man hitherto forgotten by history, director Brian Vincent captures a side of that celebrated scene never seen before, putting all the rest in context and exploring the nature of fame from an unusual perspective.

The direction is workmanlike but well edited.

The Maltese Falcon provides us with one of the earliest, and undoubtedly one of the best, examples of Hollywood Noir.

Cox's Hannibal is a masterclass in moderation.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

The story of Stanislas Petrov is one that needs to be told and The Man Who Saved The World is a near perfect telling of it.

Rivers' dreamlike approach has the quality of memory in places, full of figments and fragments, although that inevitably means some episodes are more engaging than others.

Robbie plays Elizabeth with a pursed lip and the promise of stability in her stern demeanour, leaving the not-so-gentle men confused and alert for change.

Has a dark, post-Apocalyptic feel to it, with a vibrant artistic life.

This is the kind of film that could easily be a disaster, but despite obvious budgetary limitations it acquits itself well.

There are a lot of characters, but they gradually flow together to build a fractured patchwork of what it means to be a veteran of messy conflict on any side.

As a personal and political masterpiece, Mephisto has few challengers.

A heartbreaking depiction of a man driven over the edge by an uncaring society.

This is formula fare. Nothing wrong with that when it's given serious treatment.

Watching it, one feels as if one has only just missed out on the chance to meet the great man.

Does an impressive job of understanding and illustrating the stresses and strains of being a full time carer.

A hard-hitting, ruthlessly honest account of a young American's experience of being locked up in a throw-away-the-key situation miles and years from home.

Samuels' film both contextualises and celebrates these strange slices of subversive counter-culture.

Midnight Son is atypical, funny and intriguing.

Despite the cast's efforts, the film is a bit of a nothing.

Whilst the story is ultimately fairly straightforward thriller stuff, the things it has to say are anything but. It's also a stunningly beautiful, atmospheric piece of work.

Wim Wenders films this dysfunctional love story in a tricksy cinematic manner, adding another layer of pretension to the already overloaded dumpster.

A beautifully observed portrait of a couple in crisis.

Flashy future technology and architecture has been cleverly interwoven with the familiar, even the old-fashioned, to create a world which we can believe is not too far away from our own.