David Parkinson

A time capsule now of all that was considered controversial and gutsy in 1966.

A brave effort from Richardson with another outstanding performance from Foster.

Campion's grasp of her material is intellectually and emotionally assured, while Fox's extraordinary performance demonstrates an honesty, courage and power that's rarely attempted, let alone achieved.

A hauntingly beautiful film.

The performances are credible, but set-pieces like the water-cannoning of a procession of burkha-clad protesters are also impeccably judged.

Olivier's classic and personalised version of the troubled Prince of Denmark is still highly atmospheric and intriguing.

Although there are fine homages to Chaplin, Buster Keaton, Eisenstein and Harold Lloyd here, this is a scattershot offering full of apolitical mockery.

Plenty of mileage is derived from Dujardin's dismissal of everything Arab, Michel Hazanavicius also throws in some supremely silly running gags, while keeping the plot moving at a clip and establishing a rapport between the hapless hero and his insouciantly accomplished assistant, Bérénice Bejo.

Simmering study of a petty hood-cum-wannabe pianist succumbing to his innate violent side - but there might be a touch too much ivory tinkling for some.

Edwards and Andrews insisted on using the picture to drive another nail into her detested Mary Poppins image.

Creaky, Aged and utterly enchanting. One to be seen on a proper print if you can.

The prototype for now ubiquitous 50 best blabla clips ever shows is well worth a look. They really are a bunch of the best ever.

Packed with cultural references and sly satire, this is also a hugely entertaining comic romp.

Elements of self parody from the master of slapstick leave you yearning for the early work that made his name. But it's worth a watch to see Chaplin and Keaton in one of few on-screen appearances together.

Hitchcock's coldest, hardest movie until its controversial ending.

Insightful as ever but a little dated in the set-up and treatment of the shooting.

Nostalgic and charming romance with special moments in the extra-narrative action.

Superbly played and realised, this stays with you.

Love Jones is fun, at least for the first hour, after which the melodrama takes over and the characters stop being witty and become schmaltzy instead.

A bit theatrical in places, which is not surprising when you consider its provenence but it suffers for it.

This lesser known Kurosawa feature is worth a look, with outstanding performances and stunning cinematography.

Marx brothers anarchy that makes up for plot inconsistencies with infectious humour.

Rarely has screen satire been so bleak or so mercilessly funny.

Sour as month-old milk and with a tang of off-screen animosity in its mouth, Robert Aldrich's melodrama is still hysterical in every sense of the word.

This has a lot of good ingredients but just doesn't quite manage to pull it off. It's looks dated and Shirley Maclaine doesn't quite capture the sympathies of all audiences.

Intriguing and visually atmospheric melodrama with Dietrich doing her sultry thing.

A neo-realist fairy tale that charms without losing sight of its key themes of exploitation and truth to one’s self.

The music, even after a quarter of a century, is the film's redemption.