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Being a baseball fan involves repeatedly experiencing exquisite pain and exquisite joy. Well, there's a lot of both in The Natural.

An otherwise fine sports fantasy is dragged down by an overindulgence in sentimentality.

For all its creaky-old-dark-house cliches, Insidious is a fun ghost-train ride, full of truly terrifying moments. But once it's over, it's forgotten.

Director James Wan here proves himself very adept at building dramatic tension and making you anxious about the things going on in your peripheral vision.

Caine's performance, so fervent, so agonisingly dedicated, actually gains in force and touching sincerity with the years.

Its plot has the elegant geometry of a Philip Barry play.

History, melodrama, comedy and satire are skilfully combined in this consistently exciting adventure. Visually and dramatically it rarely sags, there's a vivid array of characters and though it's a film with issues, these never eclipse the human drama.

Moviegoers seeking a grand yet edifying entertainment, right-stuffed with what Kaufman calls "seriousness of subject matter and a wild humor that comes out of left field," now know where to look...

Hackman is wonderful as an inarticulate man tense with the struggle to curb a flaring, mysterious anger.

The setting in early 1950s Indiana adds nice texture to the story, but the endless games with the usual ups and downs outstay their welcome.

A ponderous, incoherent horror mishmash that turns King's short story into utter nonsense.

The movie is so glum and flat-footed there's no reason to care.

An inventive, black comedy.

The film's oily overdefinition of various class and cultural categories is strident enough to betray a condescending attitude toward the audience.

Sure, it's melodramatic and self-important, but Black swan is still a thing of rare terrifying, heartbreaking, surreal, monstrous and downright orgasmic beauty

Despite its wildly over the top approach to creating tension, parts of it are genius. In fact I'm sure it's genius. But I will have to double check.

None of the characters ever rises beyond the level of his or her generic functions, and by the end the overall emptiness of the conception becomes fully apparent.

What makes this an innovative film is Joel Schumacher's bold eschewing of the good-guy-verses-bad-guy Hollywood convention.