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Jones is impressive in a film that depends largely on his performance.

The late 21st century moonscape resembles Las Vegas in a bubble and the hoods behave like they've never left straight-to-video.

I give director Frank Nissen full marks for creating the very essence of the English countryside.

An excuse to show gay soft porn and try to emulate David Lynch’s uncomfortable weirdness.

The clash of styles is painful to watch

Smutný gives us faces that will stories even when they're still, the weight of long experience etched into every line.

Palm Springs is appealingly playful and deceptively smart.

Tucker's performance ripples like a mirage, all charm on the surface but with an air of something much less cuddly

The references are messy, the gestures grand.

The plot is cobbled together from second-hand ideas and given as much panache as Hush Puppies on a catwalk.

Douglas imposes his presence and manages to walk the tightrope between edgy and intense without chewing up the scenery.

Tim Mielants's quirky comedy is shot through with melancholy and holds a deep affection for its earnest hero even when he seems to be the butt of everybody's jokes.

This is a charming and ultimately very uplifting movie.

The characters are pre-teen comic book flatpacks and the plot has a healthy disregard for irony.

As a modern fairy tale Penelope has a gentle touch, and while flat in places it's definitely more silk purse than sow's ear.

The pace accelerates through 15 stages of excitement without stopping to refuel

The idea of visibility and invisibility of women still has a massive resonance today, so this re-examination of Slinger's back catalogue feels timely.

It would be difficult to find anything but goodness in Copperfield's personal history and a delight in the way things turn and turn again.

A sweet little tale about the value of hope and solidarity.

Fuller directs as though McCoy was painting a work of art, so slowly, and lovingly, his camera captures the action.

A beautifully composed documentary full of information and insight.

As exciting as it is good-looking.

Robert Zemeckis has created a unique and (dare I say it?) magical work of art.

As an actor, Costner plays his trademark laid-back, soppy-hearted loner, offering nothing new. As a director, he is so casual with detail he might not have been there.

Taking care of business is rarely as emotional, but it's part of Power Ballad's exploration of authenticity.

Definitely one of Arnie's best and a landmark action movie.

Brash, unsubtle, in-your-face, wall-to-wall action.

Calling it a plain melodrama would be reductive for such a thrilling piece of cinema.

The performances of Lind and Stanley capture the close intimacy of female friendship and support with an easy chemistry

This is the first time in ages - perhaps ever - that the hot-blooded delights of a country house ball have been shown to be fun.

The Princess Bride is marvellous entertainment for all ages, and endlessly rewatchable.

With its well-paced build-up, its ominous soundtrack, and Carpenter's trademark handling of tension, Prince Of Darkness certainly earns its place on the margins of the horror canon.

Solid on atmosphere but structurally weak.

Paul has a way of finding angles that bring out different aspects of the process and the developing work.

Despite all the right elements, something doesn't quite gel.

There are two main problems with this film - firstly, you can see the emotional resolution coming a mile off, secondly, you're not actually sure what's happened by the end of play.

Though its narrative is busy throughout, there's also a lot going on beneath the surface of Print The Legend, and it will leave viewers wanting to go off and watch or read more.

One of the most unique shows ever imagined.

Bennett's script gently mocks his characters, while also maintaining a level of understanding.

In short: lad fantasy.

Overlong, too violent and bleak.

For all its flaws, The Purge is for the most part an exciting and thought-provoking thriller.

Quatermass And The Pit is a tale filled with creeping fear.

The director's use of the alias 'Ali bin Smithee' may seem cute, but it's worth thinking about why he needed to be anonymous.

A powerful study of loneliness, the film hinges on Lawrence's understated but profoundly sympathetic performance.

The scale of what Cohen achieved with his monster on a low budget remains impressive to this day.

Cagney and Lorre offer alluringly amibiguous characters, ones who all too easily undermine our well-meaning hero.

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