Ian Nathan

It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

A mighty accomplishment, and possibly the bravest Britflick yet made.

Perfectly tense atmosphere and performances, with the sparks flying between Bogart and Bacall.

As a direct tribute to the dignity of the solider facing attacks on both their bodies and their souls it puts things in a salutary context.

Smart and satirical but very dated, obviously.

Derivative sci-fi hokum but some imaginative touches here and there.

Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.

A modernised Bond is dragged kicking and screaming into the 70s.

Brutal story-line which is about as close to an explicit allegory as the western has ever come.

Only distinguishable from the original movie by its obvious cheapness.

Great performances and an innovative approach to a tired old story make this one to watch out for.

Huston revels in he opportunity for old-fashioned splendour, granting the film the sunset glow of Lawrence Of Arabia and the swashbuckling cadence worthy of the Errol Flynn days. It’s the artful mix of Kipling’s own writing, flights of fantasy with a political core.

An insanely effective no-brainer of a film, sparkling with a simple charm and energy rarely witnessed this side of illegal substances.

The definitive wacky screwball comedy that spawned a genre.

Old-fashioned comedy with superb performances and insightful glimpses into the world of newspaper journalism.

The genuinely witty and endearing Disney animation that everyone forgets.

Not a masterpiece, by any stretch of the imagination, but it's pleasing to see a sequel strive so hard to reach the same heights. That it fails is through no fault of its own - the original simply raised the bar too high.

As a light family sports feel-good this works but don't look for anything more.

This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.

One of the most legendary tear-jerkers of the 20th century.

Wise (and Crichton) concoct the most absorbing, riveting take on science fiction tempered with science fact.

This magnificent, often anarchic pastiche of Russian literature’s portentous habits with a side order in Bergmanesque death wallowing actually finds Allen at his silliest. Which also means it is extraordinarily clever silliness, with designs deliberately stolen from Chaplin, Keaton and the Marx Brothers. It is film that explores comedy’s infinite variety via the medium of the existential philosophy of those big Russian sagas slumped in history like sulking teenagers.

Everything from the style to the casting feels grubby and worn.

Fairly routine western makes a disappointing swansong for Hawks. Still good fun though, if you like this kind of thing.

The Marx brothers on top form with their quickfire comedy and banter.

Joan Allen, Tom Noonan and Dennis Farina contribute to the class in a truly underrated chiller.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

Clearly not a |Disney classic as almost no-one has heard of it, this is vaguely enjoyable 70s hokum.