Ian Nathan

Unoriginal, unfunny superhero spoof with a bewildered cast and an obvious plot.

A sci-fi which balances big themes and claustrophobic action with apparent ease.

Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.

One of the least famous of Clint's Western this is an enigma of the genre with ambiguity and psychological depth all over the place.

Moore just looks confused. He obviously wants to do his thing then hit the bar for cocktails, but John Glen is nagging him to add a roughness to the slick exterior. Equally, it just doesn’t fit. The news is clear, there’s only so far you can push a Bond before it breaks.

A splendidly detailed and rousing caper movie.

Perhaps the best Hitchcock film Hitchcock never made.

Sequel manages to retain some pathos and credibility.

The sustained furore of humour, visual panache and headlong momentum makes for dazzling cinema.

That it is a cartoon that takes kids right out of the equation is the best recommendation of all.

Overlong, it'll most likely try the patience of audiences now accustomed to a bit more bang for their buck, but it's a great deal of fun for those with a penchant for old-style action.

Never revealing too much, Becker keeps us intrigued to the end, whilst Pacino and Barkin unexpectedly sizzle.

This was sweet and charming at the time but now it just lacks either the comedy or sophistication of kids' fantasy film that we've all become accustomed to.

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.

Cruel comedy with a delicious light touch.

Here is a film fully xenophobic, abhorrent film, touting guileless version of military honour, but with Jack Cardiff’s furtive camerawork and some excellent editing, it sucks you in to its disturbing heroic sweep.

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.

A solidly made, sternly acted, and faithful realisation of the distopian novel.

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.

It's a slight tale, of course, and incredibly short, but the characters and songs are pretty much perfect viewing time and again.

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.

Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.

A most fascinating disaster of genre making.

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?