Search: Directed by Ridley Scott

Scott wrings out every last drop of suspense from the film.

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

Scott has gone back to source, bringing viewers the most refined product available.

Its use of blood and slime and razor teeth is more inventive than a 12-year-old needs watch.

These are the pigments of luminous cinema.

Scott surpasses himself. The visual quality of the action sequences is exceptional.

It is among the most unwavering make-believe worlds I have ever seen in cinema... I can only wish the film's story lingered anywhere near as much as it's artistry.

Beg, borrow or steal a ticket to see it on the biggest screen you can find.

This is an extremely well made movie, with exacting performances of the highest quality.

It's difficult to make an epic film on a small budget and even Scott's striking talent is never quite able to keep pace with his ambition.

Throw away The Bible and let's look at this thing afresh

Ridley Scott's 2nd century extravaganza dies during those pauses between blood, sweat and fear.

David Scarpa’s screenplay wisely keeps the political machinations on a slow simmer, so that they are easily followed and don’t get in the way of the nicely worked set-pieces Scott has in store.

Crowe's too substantial a lead man to fit into these Hugh Grant-ish shoes.

This is played for laughs, which gives Anthony Hopkins's performance an odd Hammer horror feel to it.

An inconstancy of detail might be forgivable if it were not matched by inconstancy elsewhere.

The battle for Jerusalem is full of jaw-dropping, breathless action.

Everyone involved here has done better elsewhere.

As a piece of art it offers quite a bit to admire, but it's not ultimately very successful as a viewing experience.

The Martian’s real strength lies in its good-natured attitude.

The plot has holes as big as horses, but you hardly notice, because the performances have their hooks in early and Ridley Scott's direction runs as smooth as mercury.

Even at its most epic there's something lacklustre about it all, as if the whole thing were being printed in ink-saving mode.

This big-screen epic is immersive less for its binocular vistas than for their impossibly grand scale

The film is at its strongest in the scenes between Crowe and Blanchett, as Marion - both no-nonsense in attitude - as they spar verbally and bring some much-needed humour to the discourse.

The fact that this film still gets people talking, and arguing, nearly 20 years on, is surely an argument for its quality and relevance.