David Parkinson

Even if Rupert Murray's film does turn out to be a hoax, there's no denying the ingenuity involved in its making.

Although not all the loose ends are tied up in the telling of this bizarre and absorbing tale of love, grief and goose-bumps, one scarcely minds at all, since the fourth-dimensional doings on offer, (underlined with a marvellously moody, haunting score by Zbigniew Preisner) are like an erotic trip into The Twilight Zone.

Once the political correctness is side-stepped, this contains classic chemistry from its two leads.

Typical James Stewart defeating bullies with integrity stuff.

Captivating and poignant portayal of life on the edge for the disregarded of our societies.

Magnificent absurdist crime drama from the master of suspense.

Bleak brilliance.

Satirical Samurai action of the highest order.

Audacious, yet sensitive, Fire may shock traditionalists but is the sort of film that ought to win Indian cinema a whole new audience.

The execution could be improved, but the sheer zip of the real life story just about carries this wartime tale along.

Hitchcock's penultimate film deals with many of his previous themes with typical grim comedy and insight into a psychopathic killer's mind.

Less audacious than A Bout de Souffle, this is, however, one of Godard's most accessible pictures. A good place to learn how much of a debt modern cinema owes him.

A classic of the weepy genre so have some toilet roll handy.

Cocteau has produced a bizarre, interesting although at times tedious movie.

Dark but beautiful.

Tautly scripted by director Per Fly and bullishly played, this is soap for the ciné-sophisticate.

For all its self-conscious pizzazz, this is irresistibly entertaining.

A positive and personal look at the Israel/ Palestine divide through the quest of one woman to maintain her own property.

Subtle and multi-layered film-making with compelling performances.

1954 musical that is woefully miscast in places and extremely dubious in its portrayal of African-Americans but does boast an on-form Dorothy Dandridge.

Olivier is truly remarkable in his portayal of the hammy actor, anti-hero Archie.

A simple, elemental tale that makes breaking the heart seem like the easiest and most natural thing a filmmaker can do to his audience. Which, of course, it isn't.

Interesting misfires from Wong Kar-wai and Steven Soderbergh barely manage to atone for the seedy muddle concocted by eightysomething Michelangelo Antonioni, who mocks his own reputation for existential ellipsis with his voyeuristic vignette.

Not one of Hitchcock's best, but with a few creative sequences and some sharp writing from Dorothy Parker.

Exploring workers' rights in an age of mechanisation and recession, this isn't always an easy watch. But it's played with spirit, filmed with integrity and is pleasingly full of surprises.

A powerful meditation on personal freedom from a Hungarian auteur.

Like "The Searchers", this is so brilliant that the only real effect of the other versions is to make you want to watch the original again.