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While the lo-fi production design on the spaceship - with its man-made webbing and items from food tins to tools strapped down left right and centre - is absorbing in its detail, there's only so long it can distract you from the film's bloated running time.

This is an iconic film which had a massive influence on popular culture.

People are being shot everywhere you look

A really enjoyable yarn in the Princess Bride mold, told with panache.

A good idea, well executed.

The dialogue is carved in marble, as if the power of speech never progressed beyond Ronald Reagan and the art of the autocue.

Few can deny the great storytelling of Lucas' true first episode of his space-opera.

A tender, moving film, with no distractions.

The humour is less subtle than a fat lady in a small swimsuit.

It progresses in the same sort of manner as leading man Damon in that it's big and bulky, slow and purposeful but somehow, despite this, quite compelling.

Ortiz, like many a filmmaker before him, acknowledges a debt to HP Lovecraft, but his work here is more in tune with that author’s style than most, in that it resists the temptation to reveal too much or to offer reasoned explanations.

The film has been unjustly vilified. It has a powerful impact, not only because of the violence, but because of its visual and emotional clarity.

Luhrmann combines an orgy of schmaltzy pastiche with satirical fireworks.

While Subject works as a catch-up with the stars of some of the most captivating docs of the past 10 to 20 years, it also offers plenty of food for thought.

It’s beautifully acted and its gentle pacing allows for the construction of a richly detailed world.

De Pauw is great as Horst, a frail, but still-threatening presence bursting with volatile, even violent energy.

With eloquent, understated performances from both leads and a willingness to take its time, Supernova explores not merely the issues they face but the life they share.

By series three the formula, now tried and tested, is, for the most part, followed. But there are changes.

More poem than conventional narrative, Sweet Dreams explores the tropes of the colonial fable with a romantic eye and a sharp wit.

While in plotting terms, the film pretty much stays in the lane you'd expect, it has plenty of heart.

Mackenzie shows everyone, inmates and guards alike, to be trapped in a corrupted, corrupting system that resists all change.

The Force Awakens manages to stop one thinking about how disbelief is suspended and instead carry one along.

The film will appeal perfectly to its age group. There is nothing too violent and nothing too serious.

It's a heavy-handed storyline in places, but is alleviated considerably by Keven Noël, who plays Jimi with real assurance yet with a refreshing lightness of touch.

Bertino introduces a parade of cardboard characters whose psychological reflexes only extend to squealing when something goes bang.

In the mindscape of Alice Through The Looking Glass, the surrealism of Steve’s predicament would be a footnote to The Patriot Act: Fear Or Frenzy?, if it wasn’t so tragic.

The film's scattershot approach doesn't really succeed in building up much of a case for the alien theory, nor in mounting an effective challenge to it.

When the final scene fizzles out to nothing, you know it's been a wasted journey.

We see the killer at home, observe him moving through life like an ordinary man, but something is always subtly off key.

As wilfully messy as all of Cohen’s work but his wicked sense of humour, budget-enforced ingenuity and ability to draw off-kilter performances from unlikely thesps shines through.

Multi-layered, original, funny and packed full of story and circumstance that makes you think.

Performances are strong throughout the film, generating an effective mixture of simultaneous sympathy and anger in the audience.

From gentle, idyllic beginnings, Summer '04 builds into edge-of-the-seat tension.

While the craft remains faultless, the effect becomes like walking through a beautiful gallery, with each painting looking lovely but with little connection to the one before or after.

Without that old roughness, this film creates no friction. It glides by so smoothly that one barely even notices it.

Weber's work is carefully choreographed and will please fans of fighting films even if it does sometimes take liberties with physics.

Morris traces this perfect tabloid tale in all its hilarious, sad and bizarre particulars.

A family movie of considerable appeal.

A poor rip-off of Paranormal Activity and The Blair Witch Project.

On the strength of this film, writer/director Robert Schwentke is a talent to watch.

Hrebejk and Jarchovsý deftly employ humour as a way of mocking and undercutting their anti-heroine while preventing their overall point about power and corruption from becoming preachy.

The comedy is generally broad but by extension travels well, breezily utilising stereotypes (fiery Spaniards versus hesitant Brits) that audiences are readily familiar with.

The central plot is that old fave of the superhero genre - world domination

Solid entertainment.

Thelma appears aloof on the surface, but her constant choice of statement lipsticks, despite her otherwise conservative dress code, hints at the emotions screaming from within.

While the lighter sections are wonderful to watch, the film doesn't fare as well when dealing with more serious portions of the story.

It elegantly shows a clear path between the jazz riffs that were Nas's father's bread and butter through to the inventive beats that back his son's hip hop.

Any doubts that this film might just be a devotee’s wilful championing of a mediocre talent that found its natural niche are immediately banished when he sings.

The film rattles along at a fair pace, peppered with gentle warmth and good humour.