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Does it matter to Eddie Murphy whether Harlem Nights is good or bad? It doesn't look like it.

Once there was Freddy. Once there was Chuckie and Jason and Howard the Duck. Now there is the scariest of them all. Now there is Harlem Nights.

Mathilda is like no New York City girl-child I've ever seen riding the subway. And I couldn't take my eyes off her.

Reno's performance of hangdog loyalty lends his character pleasing sympathy while Besson's heavily stylized direction builds tension around sexy violence.

With its diabolical ending, this is the movie equivalent of a crossword puzzle: fun, clever, and disposable.

Essentially a crime noir thriller with a twist, Paul McGuigan's film is showy and sharp, whose witty dialogue is delivered with a shrug

Unfairly dismissed on its original release, this really deserves to be better known: the ultimate example of bad-trip mainstream cinema.

Despite all the confusion, it's a simple case of the script being too ambitious. It may emulate a man experiencing flashbacks, but it doesn't help the audience.

This rather overbearing romantic comedy is by no means a disaster.

Ethnic romances from Abie's Irish Rose to Moonstruck have traveled similar ground, but few have handled the role of family in a marriage more poignantly than Once Around.

John Patrick Shanley's witty, shapely script puts an octet of New Yorkers under a lunar-tuney spell one romantic night. Cher shines brightest of all.

A shamelessly exuberant affair in which love touches the young, the hurt and the middle-aged.

Lee cagily provides a litmus test for racial attitudes in 1989, but he does so by destroying the integrity of his characters, black and white.

A pulsating homage to life on New York's streets, achieved thanks to Lee's sleepless eye, but a passionate-yet-dignified study of racism, too.

This unspeakably awful can make an audience a little crazy. You want to throw things, yell at the actors, beg them to stop.

To say this megamillion Bruce Willis vehicle doesn't fly is understatement in the extreme.

The conflict between the 'sausages and peppers' father and his 'lobster in shallot, champagne and vanilla bean sauce' son is just one of many juicy threads running through this Altman-esque banquet.

'...beautifully captures the spirit and pace of a popular, bustling eating-house.'