I liked the bit about the Muslims and where he ran round the stage a lot.

Harry Palmer's let himself go.

I think the best compliment I can pay In Bruges is that it reminded me quite a lot of Midnight Run. In terms of plotting, the two are not terribly similar, but in terms of sparky and hilariously profane dialogue between two mismatched lead characters against a backdrop of perfectly pitched support characters, the comparisons are there for all to see.

Colin Farrell, in my opinion, has never been better than here, but even he is outshone by the consistently terrific Brendan Gleeson, a brilliant actor who improves every film he is in just by being in it. He steals the show, even from Ralph Fiennes (clearly massively influenced by Ben Kingsley's turn in Sexy Beast), and once again shows an ability to deliver a zing that he was flaunting way back in the cracking Lake Placid.

It's not quite a masterpiece, but it's one of the funniest and most refreshing films that I have seen in many a year. I'll also be adding Clemence Poesy to my lengthy list of French actress crushes, thank you.

There is a point in Tell No-One, about half an hour from the end, where you realise pretty quickly that this isn't going to end well. And by that, I don't necessarily mean for the lead character - I mean the film itself.

In this day and age, any film that ends with the unmasked villain sitting and confessing his sins and why he has done what he has is almost unforgivable in my eyes. In this case, the chap in question might as well have just come out and said, "Et je n'ai réussi, trop, si elle n'était pas pour vous facilitez les enfants!"

But it's a sign of how well this film progresses and is paced that it still remains an almost essential thriller that keeps you guessing throughout, and for the most part just about steers clear of being too silly for you to be happy about going along with it all. Its influences are there for everyone to see - it gives huge nods to the likes of The Fugitive, North By Northwest and Marathon Man during its journey, all of which are always welcome, whilst the acting is almost uniformly flawless.

It really is tremendously entertaining, save for the ending, but as someone who is really far too prone to dismissing a film if it has a ropey ending, if I can forgive it for that then you can as well!

R-Point should be held up as a classic example of how to take a story with tremendous potential and completely fritter it away in a procession of lifeless and nonsensical scenes.

Plodding, dull and completely lacking in any semblance of scares with one completely ludicrous section with a US platoon and a witless ending that comes almost out of nowhere, it really did very little for me. I'll give it an extra star for the great setting and landscape, which provide what little atmosphere there is.

Try the vastly superior The Guard Post instead.

13 Tzameti is a film that, ultimately, never quite reaches the heights that it threatens to in its mysterious and impressively open-ended first half an hour or so. A young man follows instructions meant for someone else in looking for a way out of his dead-end job and to provide a better living for his poor family, and unwittingly ends up in a deadly underworld game.

It starts off Hitchcockian but ends up in Fincher/Roth territory before a lazy and contrived climax that suggests that Gela Babluani, the director, did not quite know how to finish it. If he had managed to piece together something a little meatier and we had seen the fates or possible fates of some of the other characters, especially that of the police investigator who, in the end, adds nothing to the plot, then it would have been wholly more satisfying. The film's biggest flaw though is to only follow one character in this 'game' as this takes away much of the suspense once the 'games' begin.

That said, it's still a short, sharp little thriller that, despite its two major flaws, is very well shot and acted, cleverly using black and white, and suggests that Babluani could be one to watch. Well worth 85 minutes of most people's time, I reckon.

Largely uninspired and derivative zombie piddle that, irritatingly, brings very little Oriental 'style' to proceedings.

As such you are left with a largely dull effort that has the occasional amusing moment in amongst the increasingly tiresome ripping and gnawing of flesh and intestines.

I've had enough of zombies now, somebody bring back mummies.

I don't know if it's because I've spent far too many long distance train journeys in my life filled with nothing more interesting than somebody setting off the smoke alarm by smoking in the khazi or occasionally spotting somebody who used to be in Coronation Street, but I always gravitate towards train-set films. Almost as if they're pointing out to me what could potentially happen in between trips to the buffet car and stoppages for a cow on the tracks.

Transsiberian, therefore, was a purchase made less out of desperation to see it after reading endless great reviews of it (I hadn't even seen a review of it, let alone a good one) and more out of just wanting to see another film on a train. However, after watching Brad Anderson's incredible The Machinist just days beforehand, I became really excited about how this could turn out - and was not disappointed in the slightest.

Boiled down simply, it's about an American couple who become involved with a criminal couple who are being chased by the 'authorities'. However, this is a film that thrives as much on its sub-plots as it does on its main story. An astonishing side-issue between two of the characters deep in the countryside, the unexpected disappearance of one of the main characters for a fair chunk of the film, and a superb pair of brooding bad guy performances from Ben Kingsley and the exciting Thomas Kretschmann are just some of the great things going on here.

There are many more, too, but it's the consistently excellent Emily Mortimer who really keeps this on the tracks (oh, there it is!) with a thrillingly complex performance that leaves you guessing right to the very end. The upshot of all this is a really quite excellent thriller that gets a bit too silly near the ending to be classified as truly great, but one that confirms Anderson as one of the world's most interesting new-ish directors.

As someone who is a loyal follower of foreign language thrillers and horror films, I'm constantly rolling my eyes at the news that Hollywood is remaking or reworking the latest film that I have enjoyed and appreciated. Not to the rabid extent that some people do, you understand - a cacky remake of The Eye or Dark Water isn't going to stop me appreciating the originals, after all.

But on this occasion, I'm looking forward to seeing if David Fincher can do a better job of The Girl With The Dragon Tattoo than was done here. I get the impression that he probably will, but that he will irritate and offend fans of the book far more than was done by this adaptation.

And that is what he should be prepared to do if that's what it takes to make the film that this should have been. A film has far less time and room for manoeuvre than any novel, something that Niels Arden Oplev appears to have missed as he tries to cram in as many undeveloped sub-plots and support characters as possible while the main storyline is allowed to meander for far too long up to a Scooby Doo end reveal that really was utter dross.

What saves the film from being a mess and actually still lifts it to being a mildly diverting mystery thriller are the fantastic performances from Noomi Rapace, a truly outstandingly talented actress, and Michael Nyqvist. Their consistency of performance and total commitment to the uneven storyline elevate this film enormously. Without their presence and abilities, this could easily have degenerated into one of the biggest disappointments of recent years.

As it is, it's still an albeit entertaining disappointment but at the very least it shows the potential for what could be achieved by the upcoming Fincher version. Which has Steven Berkoff, and is therefore bound to be better.

The problem, of course, with any collection like this, is that it cannot possibly cover all the ground that everyone would ideally like it to cover - without stretching to about 100 discs, that is.

After all, this is a collection that is trying to cover about 5 and a half years of programming - it is bound to miss out stuff that many people, in their opinion, would deem as important to the history to the show. It cannot possibly please all the people, all of the time. But that wasn't actually my main issue with the collection.

My issue was that this felt like quite a shoddily put together collection, almost like it was put together with little or no thought at all. Take the very beginning and the appearance of Lex Luger on the first Nitro. Instead of including his initial appearance on the show, which was huge coup and an extraordinary moment, they ignore that and instead focus on his appearance in the post-Hogan v Big Bubba match brawl. To me, that made little sense.

And it was this sloppiness that really characterised this collection, with Diamond Dallas Page, who is largely an engaging host, only popping up from time to time rather than lending his comments to all the clips. As such, a lot of the moments have no introduction and feel rather disconnected and, again, are likely to leave those who do not know much about the history of Nitro largely in the dark.

I'm no anti-WWE conspiracy theorist who thinks that Vince McMahon is trying to bury the legacy and history of WCW, but I do think that if you compare this set to the collections that have been compiled for Raw and Smackdown over the years that there is a notable gap in quality. But still, this IS Nitro and they rarely include anything that outright doesn't belong to be there, and there are so many moments, memorable for the right or wrong reasons, that still make this an entertaining purchase for Nitro fans.

I'm just a bit disappointed that it didn't even come close to being the best thing going today. Ho hum.

Almost.

In fact, if it had ended about 20 minutes earlier than it did, I might have stuck 4 stars on this. But the ending is so utterly implausible and ridiculous, relying on a ludicrous shoot-out where all of a sudden no-one can apparently hit a cow's backside with a banjo and a final scene that is so preposterously thought out that I could hardly believe it, that I almost feel annoyed at giving it 3 stars. That's how much the denouement irritated me.

The fact is though that, aside from one nonsensical piece of suicide on the part of a couple of the characters, there is a lot to like in 3:10 To Yuma. Bale and Crowe are excellent, bouncing off each other superbly, while Peter Fonda and Gretchen Mol do sterling work in support. But it's Ben Foster who completely steals the show, for me, with a mesmerising performance as Crowe's right-hand man. Shame he's such a terrible goalie. Arf. And for the most part, the story rattles along relatively smoothly.

I don't doubt that some people will love the finale and come up with a reasonable explanation for it, but in the admittedly very small post-Unforgiven world of westerns, how it chooses to end is, for me, unforgivable. Worth a look, but it's not a patch on Open Range.