Ian Nathan

The only movie to truly deliver the visceral power of a dental drill, John Schlesinger’s taut, well written if far-fetched and baffling thriller, is the film that gives you a tooth ache in a good way.

Michael J. Fox is a revelation as the mouse that roared, whilst the score, the direction, and the rest of the cast turn a risky film into a solid addition to the Nam canon.

A war film without the war but with some interesting observations nonetheless.

In typical Rob Cohen fashion, it does exactly what it says on the tin. But that's all it needs to be the visceral rollercoaster ride we all expect.

There is true beauty in the realism at the heart of what could come across a fanciful movie plot, with its documentarian coolness of execution, the crisp rhythms of Zinnemann’s direction, we feels we are staring through a window into the shadowy recesses of history.

Get this — Matthew McConaughey is currently the most exciting acting talent at work in movies. Next up, the simple business of a Christopher Nolan.

The songs and set pieces are still fresh and infectious and most of the child cast are mesmerisingly good. I defy anyone not to be caught up in the charm and nostalgia.

There are no gothic extravagances in Kathryn Bigelow's bone-dry, style-rich, noir-steeped vampire western. Instead it comprises a fascinatingly modern take on blood sucking mythology, shedding tradition to examine the creatures as human counterparts.

An unknown treasure of a fantasy film and well worth a look for fans of the genre.

Foxes with bows and arrows..what could be better than that?

Passionate performances from De Niro and Jeremy Irons in this stark but thematically complex historical drama.

Petersen pulls off the thrills at a stomach lurching pace, and with its requisite Hollywood ham - husband and wife reuniting over piles of haemorrhaging bodies - loud performances, crashing stunts and a fearsome, hypochondria-inducing conceit, there's barely room to catch your breath, let alone cry foul.

Deliciously cruel to children, Roeg remains true to Dahl's underlying sense of real horror.

It’s a fairy-tale, a glittering New York fable told in a silvery black and white, laden with nostalgia for times and oddities long gone from the hallowed halls of Broadway. Another Allen gem.

Superb performances, exquisite direction and that Ennio Morricone score create an authentic 1920s Chicago feel and a hugely entertaining crime drama.

An often overlooked fine entry in the Kurasawa canon, this shows a good many western 'epics' how it's done.

No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.

Lavish pirate adventure that launched Errol Flynn onto 1930's screens and ensured that buckles would be swashed for a good few years to follow.

Whilst paranoid in a very 1950's way and a little downbeat at times this is very enjoyable.

An outstanding thriller based on a stageplay (by Frederick Knott) that fits so much better on the screen because, as well as the expansive, cinema is really good at claustrophobia.

Kubrick's superb version of William Thackery's first novel is meticulous and philosophically stimulating but it can leave some audiences unmoved on an emotional level.

Less vibrant than the original, but equally thoughtful and funny.

A truly great Western from Clint that is bleakly atmospheric and charming in turns.

A perfect ensemble of cast, photography and screenplay are all subtly handled through Huston's direction, bringing out Bogart and Hepburn's performances beautifully.

It doesn't have the dark edge of Joe Dante's other works, but brilliant performances by Martin Short and Meg Ryan make it a joy from start to finish.

Never managing to look more hi-tech or further on from 1987 than, well, Hi-tech trainers, this Arnie vehicle still runs it's bloody course without dropping many gears. A brainless, breathless thrill.

So godlike is Spielberg’s status that we often take his talents for granted. The strange, riveting mix of Bridge Of Spies is another sterling reminder that we shouldn’t.

Delightful, athletic stuff with some unusual - but wonderful - location shooting. New York never looked better.