Ian Nathan

Should be judged in context but even then it's a bit high on the melodrama and low on subtlety.

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.

Despite a little dating around the edges this is a truly superb example of its genre and a cinema classic.

It’s juvenilia, straight-up goofballing, but there is a tittering innocence at work here.

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.

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.

More than an average thriller, but far from Lumet's finest hour.

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.

Although evidently a rip-off — there were hints of Lucas even taking the matter to the courts — this spacebound wagon train, whose limits are readily apparent, is great fun.

Just as the film captures a world (Imperialism, hunting, colonialism) that has faded away, so this film feels like one of the last of it's kind.

Frantic is Polanski's most satisfying film since Chinatown, and one of the best traditional thrillers to come down the pike in quite some time.

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.

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

One of modern American film’s most intelligent and provocative accounts of a nation’s political failings, and a near-perfect depiction of journalism at its purist and most inspired. To be more succinct, it is quite brilliant.

A classic, of sorts.

Disjointed but it still rocks.

Hardly a barrel of laughs then, but this slowburn tale sears its way onto the synapses and then flat refuses to budge.

A rerun of the first one but satan junior is now a teenager.

Jaws but bigger, more mammal, and just plain bad.

As with all great spoofers, you can feel the love the director has for Hitchcock, the thoroughness of his jokes vouches for that and the entire plot is loosely based on Spellbound. Perhaps, he was too devoted, the film lacks daring, it’s soft, Hitch would have sneered at such weakness.

A general disappointment, but then with David Bowie and Patsy Kensit what did you expect.

A 50s horror classic that remains a gem of allegorical paranoia.

This no-brainer is fine if all you're after a bit of escapism, but don't look for anything deeper than that.