Dancing at Lughnasa reviewed by Ciaran O'Rourke, Gonzaga College, Dublin

This film is a refreshing breath of air among the smog of today's mainstream movies. Where many films are going overboard on sensationalism and special effects, this adaptation of Brain Friel's play is set within the natural majesty of Donegal's tumbling landscape, focusing on a small cottage.

Here lies the second way this film differs from its contemporaries: the characters. While similar films rely on a plot to move the story, so this one rides in the wake of its characters, moving swiftly to keep pace at each development. These are the qualities that separate this film from the pack. It avoids heroes and melodrama; the heroism is in the people; the drama is in their everyday lives.

We begin with six characters: the eldest sister, Kate, is overbearing and maternal; there is Maggie, witty, cynical; Christina, a passionate, airy woman; Agnes, a down-to-earth housewife; and Rose, the "simple" sister who needs constant attention. The boy is Christina's son, Michael.

The development of characters is exceptional. There are agendas, alliances and animosities hidden within the family, which are exacerbated by two new arrivals. The first is the sixth sibling, who has been serving as a priest in Uganda for 25 years and is now an old man. The second is Michael's father, returned from abroad.

These events are linked with the finale, when an amalgamation of events sends the struggling family into a downward spiral. Despite such a high-profile actress as Meryl Streep starring, she doesn't outshine the other lead roles. This, combined with excellent cinematography and heart-thumping Celtic music by Bill Whelan makes for a thoroughly entertaining film.

Gone with the Wind reviewed by Barbara Keane, Loreto College, Crumlin, Dublin

Sixty years after its dazzling premiere in Atlanta, this much-loved blockbuster is blatantly racist, alarmingly sexist, reactionary, sentimental and historically inaccurate etc. However, it was Hollywood at its most ambitious - i.e. supremely entertaining.

Tinseltown is renowned for "respectable entertainment served up on a polished platter". This film is an excellent example.

Against the background of the American Civil War, we witness the demise of an elegant and honourable era. Scarlett O'Hara (Vivian Leigh) epitomises the "Southern Belle" at her most wistfully charming - balls, dresses and mint-juleps occupying most of her thoughts. Rhett Butler (Clark Gable) is the dashing blockade runner who woos and weds the spoilt Scarlett.

Gable was the only star truly considered for the part - as opposed to the hundreds who read for the part of Scarlett. There is a magical chemistry between Gable and Leigh which makes many of the scenes infinitely memorable. Gable's "Frankly my dear, I don't give a damn" broke a Hollywood taboo against swearing and gave a "delicious shock" to the multitudes.

Lavish and spectacularly expensive, Gone with the Wind was also the perfect example of Hollywood as an essentially collaborative artistic production centre - Victor Fleming getting the credit for directing from a team-written screenplay based on Margaret Mitchell's best-selling novel. As the Oscars were being presented (best picture and best actress for Leigh), war was breaking out in Europe. Atlanta would become Stalingrad and tomorrow would be another day. In the meantime, Gone with the Wind would break all box-office records.

Blade Runner: The Director's Cut reviewed by John Kennedy, St Benildus College, Dublin

On the surface, this is just another science-fiction film. Yet, on closer inspection, Blade Runner is much bigger and stronger. From the word "go", you know and feel that this is different, the imagery superb, and the message deeper, clearer than the run-of-the-mill film.

The plot is set in the year 2019. As man's space exploration expands, androids are created and modified to work on the new colonies. However, a group of them, led by "replicant" Roy Batty (Rutger Hauer) rebel and escape back to earth. After this, all replicants are ordered to be "retired".

The only expert in "retiring" is Rick Deckard (Harrison Ford), recently recalled to the police force. His mind becomes muddled, however, when he falls in love with a trial replicant that has emotions (Sean Young).

From then on, the possibility that Deckard is himself a replicant is raised. Meanwhile, Batty's "batteries" are running low and he desperately seeks a way to increase his minuscule life-span. Director Ridley Scott has succeeded in updating Bogart-style film noir. Deckard is distinctly Marlowesque, and the rain-soaked surroundings give the film a dark, moody effect. Another superb feature is the dreamy musical score by Vangelis.

Of the actors, Ford is superb, but he is completely overshadowed by Rutger Hauer, whose philosophical performance is one of the highlights of the film.

To describe Blade Runner in words is impossible; it combines imagination and ideas with action and poverty-stricken streets, providing a plethora of visual flair. It's a feast for the eyes, a classic film, without a doubt.