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Directed by : Alan Silvestri, Robert Zemeckis, Robert Zemeckis, Robert Zemeckis, Steve Starkey, Arthur Schmidt, Steven Spielberg, Kathleen Kennedy, Rick Carter, Joanna Johnston

Produced by : Alan Silvestri, Robert Zemeckis, Robert Zemeckis, Robert Zemeckis, Steve Starkey, Arthur Schmidt, Steven Spielberg, Kathleen Kennedy, Rick Carter, Joanna Johnston

Starring : Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Thomas F. Wilson, Lea Thompson, Elisabeth Shue, Matt Clark, Richard Dysart, Pat Buttram, Harry Carey, Jr.

Company : Universal Pictures, Amblin Entertainment, U-Drive Productions

Release date(s) : 1990-05-25

Running time :119 Minutes

Country  : United States

Language :English

Budget :  $40,000,000

Storyline : Oh, I know you did send me back to the future. But I'm back! I'm back from the future.

Doc Brown is back in 1885 in the Old West, soon to be joined by Marty who has found that Doc is in mortal danger from Burford "Mad-Dog" Tannen.

Rounding out what turned out to be a hugely popular trilogy, Back to the Future Part III restored the core essence heart of Part 1, whilst simultaneously tying up all the threads with a fully formed story. More sedate in its telling (not hard following on from the manic pacing of part 2) part 3 fuses science fiction malarkey with, well, Western malarkey. All played out with the usual array of clever jokes and series reprises - only in a Wild Wild West setting. An interesting point to note is how the roles of Doc & Marty have been reversed from the first film, here Marty is the maniacal plot axis, whizzing around getting into scrapes as Doc ambles around in love, courtesy of the delightfully classic looking Mary Steenburgen as Clara Clayton. Thomas F. Wilson returns for villain duties as Tannen, a Western bully villain pulled straight out of many a classic Oater from way back in the day, and Lea Thompson & Elisabeth Shue ensure the "past" is not forgotten.

When Robert Zemeckis and Bob Gale started making Back To The Future in 1985, could they have envisaged that they would make three films and end up with a steam engine time machine in the Wild West? Possibly not, but as part 3 hurtles (literally) towards the suspense laden finale, two things are for certain. One is that they wisely closed the series down with a surefire coda winner. Two is that between them they crafted one of the most entertaining family trilogies to have ever graced the screen. No doubt about the fact that part one is the uniformly class act of the three, but parts two & three themselves reward groups of all ages. Great Scot indeed. 8.5/10

Directed by : Celestia Fox, Roald Dahl, Harvey Harrison, Tony Lawson, Nicolas Roeg, Stanley Myers, Jim Henson, Mark Shivas, Dusty Symonds, Allan Scott

Produced by : Celestia Fox, Roald Dahl, Harvey Harrison, Tony Lawson, Nicolas Roeg, Stanley Myers, Jim Henson, Mark Shivas, Dusty Symonds, Allan Scott

Starring : Anjelica Huston, Mai Zetterling, Jasen Fisher, Rowan Atkinson, Bill Paterson, Jane Horrocks, Brenda Blethyn, Charlie Potter, Anne Lambton, Sukie Smith

Company : Lorimar Film Entertainment, The Jim Henson Company, Warner Bros. Pictures

Release date(s) : 1990-05-25

Running time :91 Minutes

Country  : United States

Language :English

Budget : 

Storyline :

Directed by : John Williams, Raja Gosnell, Janet Hirshenson, Scott Martin Gershin, Jane Jenkins, Eve Cauley, Kathryn Himoff, Chris Columbus, Mark Radcliffe, John Hughes

Produced by : John Williams, Raja Gosnell, Janet Hirshenson, Scott Martin Gershin, Jane Jenkins, Eve Cauley, Kathryn Himoff, Chris Columbus, Mark Radcliffe, John Hughes

Starring : Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Catherine O'Hara, Roberts Blossom, Devin Ratray, Michael C. Maronna, Hillary Wolf, Angela Goethals

Company : Hughes Entertainment, 20th Century Fox

Release date(s) : 1990-11-09

Running time :103 Minutes

Country  : United States

Language :English

Budget :  $18,000,000

Storyline : Doesn't really work if you actually spend the time to bother thinking about it, but so long as you don't _Home Alone_ is a pretty good time. There's really no likeable character, and it's honestly pretty mean spirited, but sometimes that's what you might need to defrag over Christmas.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

Directed by : Arnon Milchan, Steven Reuther, Garry Marshall, J. F. Lawton, James Newton Howard, Charles Minsky, Raja Gosnell, Priscilla Nedd-Friendly, Dianne Crittenden, Albert Brenner

Produced by : Arnon Milchan, Steven Reuther, Garry Marshall, J. F. Lawton, James Newton Howard, Charles Minsky, Raja Gosnell, Priscilla Nedd-Friendly, Dianne Crittenden, Albert Brenner

Starring : Richard Gere, Julia Roberts, Ralph Bellamy, Jason Alexander, Laura San Giacomo, Alex Hyde-White, Amy Yasbeck, Elinor Donahue, Héctor Elizondo, Judith Baldwin

Company : Touchstone Pictures, Silver Screen Partners IV

Release date(s) : 1990-03-23

Running time :119 Minutes

Country  : United States

Language :English

Budget :  $14,000,000

Storyline : A street credibility Pygmallion!

Edward Lewis is a very rich man, but money, as everyone knows, does not buy everything, and as yet another failed relationship falls by the wayside, Edward faces up to the prospect of a hectic social week on his own. Enter a meeting with ebullient hooker Vivian Ward, who upon impressing Edward with her happy go lucky values, gets herself hired to be his escort for the week ahead, it's a week that both of them are unlikely to ever forget.

It almost became the in thing to stomp all over the respective work of both Richard Gere (Edward) and Julia Roberts (Vivian), adding fuel to the fire of those with an aversion to both actors is that the crowd pleasing Pretty Woman hails from that dreaded genre known as 1980s Rom-Com. Seemingly many can now not see just what made Pretty Woman so popular back in 1990. Gary Marshall's film was the fourth highest box office taker in 1990, grossing a domestic $178,406,268, and at the same time made the date movie hip again, so basically all you Pretty Woman haters can take both those facts to the bank!

As the opening credits emerge, Peter Cox (lead singer of pop band Go West) starts warbling about "The King Of Wishful Thinking", and never was a more appropriate song used to open such a genre piece before or since, and this is the key issue with Pretty Woman. Yes, the whole structure and plot devices are all fanciful splendour, I mean does anyone seriously think that hookers look and act like Julia Roberts? But really if you are entering this picture expecting anything other than a modern "My Fair Lady" like fairytale then the blinkers need to be well and truly taken off. It's also a point of worth to say that Pretty Woman has something to say outside of the main intention to lift hearts and make one smile, Marshall, aided by his screenwriter J.F. Lawton, tie in smartly the fact that Edward is as much a hustler as Vivian is, only difference being that Edward is incredibly wealthy and has therefore grown in public stature.

Both Roberts and Gere have brilliant chemistry, so it was no surprise to see they would work together again in 1999 on "Runaway Bride", and both actors are helped immeasurably by splendid support from Hector Elizondo as the hotel manager, Barney Thompson. The picture is laced with joyous moments that hark back to the golden days of screwy comedies laced with unlikely romances, and this was something that clearly struck a chord with cinema goers back on the film's original release. Yes it's a touch over sweet at times, and yes the ending is never really in doubt, but if you are prepared to invest some fluffy chilled out time with Pretty Woman then you can see and feel just why it was the big hit it was back at the start of the 90s. 8/10
A street credible Pygmallion?

Edward Lewis is a very rich man, but money, as everyone knows, does not buy everything, and as yet another failed relationship falls by the wayside, Edward faces up to the prospect of a hectic social week on his own. Enter a meeting with ebullient hooker Vivian Ward, who upon impressing Edward with her happy go lucky values, gets herself hired to be his escort for the week ahead, it's a week that both of them are unlikely to ever forget.

It almost became the in thing to stomp all over the respective work of both Richard Gere (Edward) and Julia Roberts (Vivian), adding fuel to the fire of those with an aversion to both actors is that the crowd pleasing Pretty Woman hails from that dreaded genre known as 1980s Rom-Com. Seemingly many can now not see just what made Pretty Woman so popular back in 1990. Gary Marshall's film was the fourth highest box office taker in 1990, grossing a domestic $178,406,268, and at the same time made the date movie hip again, so basically all you Pretty Woman haters can take both those facts to the bank!

As the opening credits emerge, Peter Cox (lead singer of pop band Go West) starts warbling about "The King Of Wishful Thinking", and never was a more appropriate song used to open such a genre piece before or since, and this is the key issue with Pretty Woman. Yes, the whole structure and plot devices are all fanciful splendour, I mean does anyone seriously think that hookers look and act like Julia Roberts? But really if you are entering this picture expecting anything other than a modern "My Fair Lady" like fairytale then the blinkers need to be well and truly taken off. It's also a point of worth to say that Pretty Woman has something to say outside of the main intention to lift hearts and make one smile, Marshall, aided by his screenwriter J.F. Lawton, tie in smartly the fact that Edward is as much a hustler as Vivian is, only difference being that Edward is incredibly wealthy and has therefore grown in public stature.

Both Roberts and Gere have brilliant chemistry, so it was no surprise to see they would work together again in 1999 on "Runaway Bride", and both actors are helped immeasurably by splendid support from Hector Elizondo as the hotel manager, Barney Thompson. The picture is laced with joyous moments that hark back to the golden days of screwy comedies laced with unlikely romances, and this was something that clearly struck a chord with cinema goers back on the film's original release. Yes it's a touch over sweet at times, and yes the ending is never really in doubt, but if you are prepared to invest some fluffy chilled out time with Pretty Woman then you can see and feel just why it was the big hit it was back at the start of the 90s. 8/10