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The fun in the film comes from the heroes' banter, and one can't help but think that watching them take a bus trip to Alton Towers might have been just as enjoyable.

Although it is beautiful to look at, it goes on doing that for an hour and a half.

A quietly enjoyable film with a sense of the old-fashioned about it and a few bursts of humour to cut through the air of melancholy and suspicion.

This sunny-side up romantic comedy from New Zealand is well worth a watch if the gloom of mid- winter is starting to bite.

Its images are often chilling. Its spaces have a genuine charge. But the plot often feels less like cinema than like a sequence of cutscenes from a video game with the gameplay removed.

The film never seems to want to end.

The connection that forms between them feels more real because it’s so unlikely. Duplass, co-writing with Strassner, has the skill to pull it off, and both lead actors are up to the task.

It's a wonderful story and brings a tiny tear to the eye, even of this cynic.

This feels leaden, not just due to its length, but in the attempt to be heavy, to be worthy.

If you’re looking for explosive, mind-boggling special-effects driven set-pieces coupled with broodingly patriotic one-liners from Neeson et al, you won’t be disappointed.

The message is less of a warning against perfection's poison, rather a reminder that 'desire is desire wherever you go'.

A real oddity, one of those curiosities which become landmarks in cinematic history.

Running alongside the film's more elegiac sweep is a cut-glass wit.

Showcases the venerable maverick’s directorial style at is best and its worst.

Green's richly detailed documentary is a portrait of a remarkable woman, a love letter to early cinema and a fascinating detective story all in one.

Nobody plays lazy like Jeff Bridges. You could say he was born to it. Or rather, he's such a good actor he makes it look as natural as an unmade bed.

One of Argento’s most accessible, compelling films.

An enjoyably salacious, seedy experience.

Uniformly brilliant.

The film has a German Expressionist look about it, more so than many of the later American film noirs: the way faces are shot, the bizarre object in the warehouse.

While the roaming handheld cameras bring to mind observational documentaries, the aesthetic also evokes Robert Altman through its observational style and rich tapestry of characters.

For better or worse, Antonioni’s got his master stylist hat on here, even if it sometimes obscures his vision.

Rockwell could have played this role in his sleep but makes as effort nonetheless, and Schwartz holds his own.

Biafra brings real energy and passion to the job, helping to make this a film that’s consistently gripping and never gets dry even when dealing with legal details.

Offers a wealth of engaging detail

A hilarious screwball comedy

That we stick with her through this is down to the magnetism of Kurylenko’s performance.

Levey’s enthusiasm for his subject is infectious.

Kimberly Peirce has taken a newspaper story and given it style.

Creative tension, daring storyline and genuinely unsettling dreadfulness.

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

For all its quality, and there's plenty, it doesn't quite feel a thing complete. Its characters are disobedient, but their film is in part disordered.

The problem - and it's a massive, elephant in the room style problem - is that it is very hard to tell whether this is a woke film trapped in a judgemental body or vice-versa.

The true fault lies with the script, which brings no life to the real, or indeed fantasy, characters.

Here comes E.T: The Reboot, disguised as a rom-com.

It’s all incredibly creaky, decidedly low budget and, despite being co-written by Private Eye’s Ian Hislop, all rather toothless and low on chuckles.

This sympathetic and thoughtful portrayal of the many faces of marriage avoids clichés about the good old days as well as the bad ones.

Richard Gere is exceptional.

Unsettles us by exposing our own voyeuristic tendencies and sadomasochistic urges.

As vital as it is virtual.

Big Nothing is a very uneven film, whether by intention or design.

It's true what they say about violence. Too much and you become immune.

Black Sheep has a certain charm which enables it to keep its one joke going all the way through.

It took popular science fiction into a very dark place but did so with a wit and energy that would make it a longstanding cult favourite.

Hasei's story may be simple but it is warm, unsentimental and has plenty to recommend it, particularly for older children.

All credibility and tension, manifested during the bulk of the film, is completely robbed at the final hurdle by a ludicrous ending.