Christopher Nolan's The Prestige is a lesson in filmmaking with its lean structure, brilliant performances and expert direction. John Boorman's The Tiger's Tale, on the other hand, seemed to tick all the boxes but failed to deliver. By Declan Burke

Borat, with his naïve bluntness, coaxes unsuspecting Americans into revealing their true colours and the spotlight is on London's Jewish community as one boy struggles towards manhood in Sixty-Six. By Declan Burke

Russell Crowe has to choose between a chaotic life trading on the London stock exchange and lounging at his uncle's villa in Provence in A Good Year, while in Step Up a troublemaker gets to dance her way into happiness. By Declan Burke

Sofia Coppola's Marie Antoinette lacks any real depth but the film is still a triumph and the less said about The Guardian the better. By Declan Burke

The Devil Wears Prada shows a world of excess that is surprisingly alluring while down south, Heart of Gold shows that this Neil Young's down-home twang will never go out of style, says Declan Burke

Oliver Stone doesn't let the courageous and generous characters in World Trade Center tell their own tales; instead he jumps in at every opportunity to amp up the pathos, says Declan Burke

Kevin Smith's sequel to the 1994 slacker hit Clerks pulls too many punches, while feminist rom-com Trust the Man hits out at every man in sight. By Declan Burke

The Black Dahlia is beautiful to look at, but it gets bogged down with confusing storylines and a plethora of characters. On the other hand, Al Gore's An Inconvenient Truth argues the Green case with deceptive simplicity, says Declan Burke

Familiar families on the road in Little Miss Sunshine and terrorism in downtown LA in Right at Your Door. By Declan Burke

Declan Burke on The Sentinal, which drowns in its many plotlines, and the frantically-paced Crank