Caroline Westbrook

Both assuredly funny without being forced, and smart without being smug, this is one comedy that deserves to go forth and, indeed, multiply.

It's enjoyable and visually impressive, but this is a slender trifle of a film, one which charms you as you're watching it and then is all too quickly forgotten.

This is a bold, enormously enjoyable effort, by turns both hilarious and disturbing.

Ralph Macchio's transformation from high school geek to butt-kicking tough guy, thanks to a little help from Chinese sage Mr. Miyagi (Noriyuki 'Pat' Morita) and his homespun Oriental wisdom, is entertaining enough.

A funny and touching look at the joys of family life.

Pfeiffer's performance supersedes any of the material, but the rest of the film is a seething mass of clich's despite the "true story" origins.

A pleasant package then, easy on the eye, and gently charming but, like The Brothers McMullen, one which places Burns as a comfortable rather than cutting-edge moviemaker.

This is enormous fun, one of the best TV adaptations to date, and guaranteed to provoke a nostalgic misty eye and mischevious grin in anybody who's ever owned a crimplene tank top.

The net result is unbeatably good fun, helped along by that inherent fantasy that one man can create global mayhem without stopping to worry who's going to clean up afterwards.

With insightful one-liners by the bucketload and a memorable duo in Dreyfuss and Mason, this serves as a joyful reminder of a genre which has long since past its best.

Despite the stars best efforts this is neither funny or original.

This, the debut feature from acclaimed TV director Danny Boyle, is the best British thriller for years, a chilling and claustrophobic heart-stopper centring on a moral dilemma destined to fuel many a dinner party conversation.

It does become marginally less cringe-making in the latter half, but aside from a hilarious set piece involving a cat/tranquilliser dart interface and a vaguely entertaining Russian Mafia subplot, this is tired stuff which should have stayed at home.

This is a leaden mess that offers only brief moments of respite.

An ambitious and sloppy, yet occasionally likeable, cross-European fable.

It comes across as a man's eye view of what a women's film should be like, and although it's not altogether clunky, you can't help but feel that in the hands of a more sympathetic director it could have been something really quite special.

What begins as mildly intriguing stuff with some genuinely unsettling moments, quickly melts into a plot so confusing that it almost begins to look as though the editor was taking some mind-altering substance.

Although this may sometimes appear to be simply a bawdy soap opera, first-time director Prechezer injects such joie de vivre into proceedings that it scarcely matters.

The formula for Robin Williams' childish stick wares dangerously thin this time out.

It's charming enough.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.

Just perfect. Script, character, animation....this manages to break free of the yoke of 'children's movie' to simply be one of the best movies of the 90's, full-stop.

With suitable suspension of disbelief this makes for agreeable enough nonsense.

It may not be to everybody's taste, but this is a daring antidote to its more saccharine cousins.

Despite its glaring obviousness, this is charming enough to captivate the viewer, producing unexpectedly strong female characters and faultless attention to detail.

Vastly enjoyable despite the syrupy, soppy song bit in the middle (go make a glass of mulled wine during it). Michael Caine is perfect in the role and there are many genuine belly laughs.

It still stands up as an upbeat portrait of pre-revolutionary Russia, and will have you whistling If I Were A Rich Man for days.

A garish, gorgeous example of pop art at its finest.