Peter Bradshaw

It is up to McConaughey's crooked cop to carry the picture: a sleek, loungingly casual loner whose hunger for violence, like his hunger for fried chicken, is finally and horribly gratified.

The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.

With the fourth film, the Ice Age family animation franchise is looking almost extinct.

Oddly, Magic Mike somehow looks like a much darker and more challenging movie than is actually the case.

Winterbottom's location work in Jaipur and Mumbai has richness and spectacle, but somehow this does not come fully to life.

Nicholas McCarthy's The Pact is a horror film developed from a short, and unfortunately it splits apart while being stretched out to feature length.

Bekmambetov directs with gusto, and the forthright absurdity of the story, combined with its weirdly heartfelt self-belief is winning.

In theory, these are twentysomethings we're talking about. But they walk and talk like fortysomethings or fiftysomethings, such is their dullness and self-absorption.

As for Violet, Emily Blunt brings to the role genuine sympathy, and she continues to thaw out the ice-queen hauteur of her earlier movies.

A drama with interesting moments, but also some false notes and a wildly bizarre ending.

Doubtless, like The Producers, it will be adapted back into the theatre, some time in 2017, at which time it will be even more bland and tiring.

This film has to be indulged a little, and you'll have to negotiate the stumbling block that is Hawke's stodgy, dodgy French accent.

An accomplished debut.

Robert Pattinson has to do an awful lot of hollow-eyed smouldering in this hammily enunciated French period drama, taken from the 1885 novel by Guy de Maupassant.

The result is tangled and overblown.

Ridley Scott has counter-evolved his 1979 classic Alien into something more grandiose, more elaborate – but less interesting. In place of scariness there is wonderment; in place of tension there is hugely ambitious design; in place of unforgettable shocks there are reminders of the original's unforgettable shocks.

An intelligent and resonant work from Norwegian director Joachim Trier, a movie that yields up its meanings and implications slowly.

A very charming, beautifully wrought, if somehow depthless film - eccentric but heartfelt, and thought through to the tiniest, quirkiest detail in the classic Anderson style.

The film is watchable and often funny, but still seems encumbered with a kind of Sundance-indie self-consciousness, and I wondered if, in the end, it was doing anything more than the far more unassuming and gag-packed Harold & Kumar movies.

The Dictator isn't going to win awards and it isn't as hip as Borat. Big goofy outrageous laughs is what it has to offer.

This really is a reasonably, moderately, whelmingly good film.

It's still atmospheric enough, and like the original, has a quasi-theatrical event status. But it feels like a copy.

Inevitably, the guys wind up sentimentally telling each other they should do this every year. Please no.

This is a fluent, confident and deeply felt movie: unmistakably, if not exactly nakedly, autobiographical.

A jaw-droppingly self-indulgent, shallow, smug if mercifully brief feature with a plot that looks like the outline for a pop video.

An ingenious idea for a suspense thriller – or maybe even an old-fashioned, "Wait Until Dark"-style stage play – turns out instead to be the pretext for a crass, over-long and tiresome splatter nightmare.

It is oddly like an Agatha Christie thriller with all the pasteboard characters, 2D backstories and foreign locale, but no murder.

This film is one long biopsy of pure horror: the tumours of sentimentality and bad acting metastasise everywhere, and Bernal, in particular, is horrendously bad.

It feels as if you've seen it many times before. Bill Nighy isn't in it, for example, and yet afterwards I had an intense memory of Bill Nighy being in it, the way amputees can feel their toes itching.

However smart and sophisticated this film is, it may disappoint those who, in their hearts, would still like to be genuinely scared.

One of those agonisingly well-intentioned films whose heart is in the right place, but everything else is wrong.

With its pale, washed-out colour palette, its eerily slow, almost somnambulist pacing and occasionally bizarre emotional demonstrations, Post Mortem is strangely gripping.

The slightly slushy tone of celebration rather obtusely fails to engage with the nihilist, pessimist nature of Tatsumi's work. Anyway, an intriguing event.

Nanni Moretti's new film is occasionally amusing, but is also a frustrating and directionless experience.

It's evasive and feeble; Julia Roberts is not a properly funny or satisfying villain, and yet neither is she the interestingly flawed, even sympathetic figure she might have been if the film had kept the all-important question she asks the mirror.

It is a sombre, thoughtful, restrained and often powerful piece of work.

This Is Not a Film is a compelling personal document, a quietly passionate statement of artistic intent, and an uncompromising testament to his belief in cinema.

It is effortlessly and unassumingly funny – and terrifically smart.

Bill Nighy and Toby Kebbell liven things up in the supporting cast.

Could Nasheed be the political Prospero to save the island – and the planet? Well, now he is out of power, and the Copenhagen summit was a disappointment. Perhaps his advocacy will help to bring the climate change issue back into political fashion.

This is really very humdrum stuff compared to the electric strangeness of "Intact."

Brutal, bloody and presided over by a portrait of Her Majesty the Queen, the Canadian ice hockey in this movie is a cross between Rollerball and a prison riot: harking back to the robust certainties of Paul Newman's 1977 bonecruncher "Slap Shot."

The gimmick behind this excruciating propagandist movie about the US special forces' war on terror is that it features not actors but actual Navy Seals.

The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.

Rachel Weisz performs with enormous intelligence and restraint.

Dejah, with her seen-it-all-before smirk, is not a very sympathetic heroine, and Kitsch is stolid and dull. And as for the red planet, the answer to David Bowie's famous question is no. What a sadd'ning bore it is.

It's indulgent, but Macdonald's performance is attractive and relaxed.

It's a thriller in which the twists become so absurd that it becomes a kind of caper, but without the humour.

It's a bit sucrose, especially at the beginning, but this traditional, sweet-natured family film will tug on the heartstrings.

There is release at the end of this fine film, but no euphoria; just a sense of having come through a period of evil, the memory of whose darkness will never entirely lift.

He lived until recently in bohemian chaos in one of the "artist apartments" in Carnegie Hall, and cares nothing for money or vanity. That's real class.

With his two early features, "Distant" (2002) and "Climates" (2006), Ceylan has showed himself a superb film-maker. This is his greatest so far.

It runs out of steam in the final 10 minutes, but there's some gruesome drama and Cusack is on decent form.

In its outrageous way, 21 Jump Street has real laughs.

The reggae soundtrack throbs and crunches and shudders in concert with the raw energy of Henzell’s storytelling and Cliff’s performance, but this doesn’t preclude a shrewdly self-aware debate about representation.

The combustion engine gave humanity the new experience of speed; now the movie camera gave us a dizzying new speed of perception and creation.

Editors Terry Rawlings and Peter Weatherley cut the film so cleverly so that we never have a clear notion of what the alien actually looks like until the very last shots.

This superbly composed film comes as close to perfection as it gets.

It is strident, yes, and naive, too perhaps; but lyrical and passionate and visually dazzling.

For me, it tends to be a recipe in which you can't taste either of the constituent ingredients. The big man-to-wolf transformation scene is still a marvel.

For a film renowned for its violence, Garcia unfolds at a leisured, almost lugubrious, pace with scenes allowed to unspool at a length that would never be allowed in any Hollywood thriller today.

It’s a great piece of Hollywood confectionery, and you might well find yourself choking up a little at the end.

Erotic languour turns gradually into fear and then horror in this gripping and superbly controlled psychological thriller from 1969.

Though this is familiar Lynch stuff, it is never dull, and I was often buttock-clenchingly afraid of what was going to happen next and squeaking with anxiety.

There’s an undimmed freshness, warmth and freewheeling energy in this 1992 indie gem, and its director Leslie Harris – whose career since has chiefly involved writing and teaching – deserves a far bigger presence in US film history.

A really absorbing and powerfully acted drama, guided with a distinctive kind of Zen wisdom by Sayles.

DiCaprio’s performance is excellent; his Romeo is transformed and astonished by the real thing; he has play-acted at love until now, and he hasn’t realised how vulnerable it would make him. Danes looks more mature than he does (though in fact six years younger) and she is such a smart, stylish player, even at this age. The Luhrmann R+J is a tonic and a delight.

Ingmar Bergman's dark masterpiece effortlessly sees off the revisionists and the satirists; it is a radical work of art that reaches back to scripture, to Cervantes and to Shakespeare to create a new dramatic idiom of its own.

It is an intriguing movie that lives in the mind for hours after the lights have come up.

It’s a nifty little tale of jeopardy and the eternally fascinating idea of breaking away from your parents: part frightening, part liberating.

The unmasking "reveal" at the beginning of the movie is a great coup, and the film continues to be very scary, helped by Carpenter's own theme: a trebly plinking of piano notes and that buzzy synth in low register.

An interesting feature, almost a B-side to The Graduate in its way, without the predatory older characters.

A superbly realised picture which moves with the power and the gigantic, deliberative slowness of a wartime North Sea convoy. [14 May 1999, p.107]

Forrest Gump is Hollywood film-making at its most corn-fed, sucrose-enriched and calorific; you’ll need a sweet tooth for it.

This is a hothouse flower of pure orchidaceous strangeness, enclosed in the studio’s artificial universe, fusing cinema, opera and ballet.

This Superman alludes explicitly to its origins in the Depression-era comics, and Clark has a quaint 30s habit of using the phrase “Swell!” from his boyhood. Maybe now this movie looks quaint in the same way. But there’s still a surge of adventure and fun.

Mandabi features an excellent performance from Guèye, who is innocent and culpable all at once. This is gentle, walking-pace cinema that leads us by the hand from vignette to vignette, from scene to scene, presented to us with ingenuous simplicity and calm.

There is simply no other film which demonstrates so perfectly what it feels like to be young and in love.

It’s a bit overextended but very watchable with flourishes of exotic invention.

McDormand is perfect in the role.

It is shot with fluency and energy; the dreamy chapter-heading inserts are striking, the final image is powerful, and of course Watson herself is a triumph.

A wonderfully composed movie in which Ingmar Bergman is able to vary the tone from melancholy to gaiety in the most deeply satisfying way

The detailed sound design is inspired: the ghostly whine of a phone receiver left off the hook seems to intuit the couple’s inner anxiety – and so does the insistent two-tone blip-blip of Julian’s computer. [Director's Cut]

Gary Oldman’s superb livewire performance is now virtually an authentic testament of the man himself. Alfred Molina’s morose, self-hating Halliwell is also utterly convincing: Bennett’s script cleverly conveys their long years of bickering domesticity.

This is a jewel of American cinema.

This tennis film feels like a two-hour baseline rally, and it’s not just the rackets that are made of wood.

This week we learned that 99% of Sun readers want a return to capital punishment. I learned that 100% of me wants it for 100% of people involved in this romcom.

It is brilliant and audacious, with one of the most extraordinary final sequences in modern cinema, and all in a manner which Hollywood in the succeeding decade would learn to call "high concept".

No other later horror film – and certainly none of the many sequels to this one – captured so well the strangeness of living through a long night of evil and emerging into bright sunlight, with its tacit promise of restorative justice or virtue, or just normality.

This new Star Trek is fast-moving, funny, exciting warp-speed entertainment and, heaven help me, even quite moving - the kind of film that shows that, like it or not, commercial cinema can still deliver a sledgehammer punch.

This is a movie of virtuoso nihilism and scorn.

The forthright, punchy screenplay shows Kinoy’s TV background, but there is a galloping energy to the whole drama.

The Children Act is concerned with love, intimacy and moral responsibility and it is refreshing to see a movie which sets itself standards of this sort. But there is also something a little too neat in the way all these things are wrapped up. Emma Thompson’s performance, so elegant and vulnerable, carries the picture.

It’s a documentary that should be shown in all film schools.

The performances of Mara and Phoenix are careful and respectful, though with nothing like the lightning-flash of energy and scorn that they have given to secular roles in the past.

This is a film that doesn’t dramatically harness the vast forces it’s gesturing at, but trundles determinedly along with very little variation of tone or pace.

Worryingly, there is an actual film-maker in the story who appears to be intervening in the action and The Nothing Factory appears to retreat into self-reference when it could be offering concrete ideas on the issue of people keeping their jobs.

Sublime moments, of which the most extraordinary must still be Everett Sloane, playing Kane's former business manager Mr Bernstein, remembering the girl in the white dress on the Jersey ferry: "I only saw her for one second and she didn't see me at all – but I'll bet a month hasn't gone by since that I haven't thought of that girl." I'll bet a week hasn't gone by when I haven't thought about that line and pictured the girl so clearly that she has become a false memory of the movie itself.

This is a movie about disguise, denial, alienation and the terrible toll taken on the people who make a stand that their fearful or resentful contemporaries see as odd, eccentric or foolhardy – but will later sheepishly admit were entirely right.

One for the fans, perhaps, and a vivid Gradiva-esque glimpse of the past.

It's a nice, if undemanding, Yuletide treat.

The Idiots works as a situationist provocation about a situationist provocation, though claiming the sentimental high ground at the end. As ever, von Trier gets points for his sheer chutzpah.

Infinite Football is an austere 70-minute experience, but the eccentric idealism of Laurențiu Ginghină lingers in the mind.

It is a wonderfully fluent, engaging story, with beautiful cinematography by Guy Green.

There is genuine fear in its nightmarish tableaux: the breast-feeding woman holding an egg in the ruined churchyard is like a detail from Hieronymus Bosch. And that final sequence, with the eponymous Wicker Man, is inspired.

Coppola’s epic storytelling sweep is magnificent: there is an electric charge in simply the shift from New York to California to Sicily and back to New York.

The documentary vividness that Carol Reed brought to the streets of Vienna in The Third Man and London in The Fallen Idol, he here brings to Belfast in this fascinating but imperfect 1947 thriller.

There is one especially lovely moment. At their first meeting, lovestruck Tony asks Maria if her kindness to him is just a joke. She replies: "I have not yet learned to joke that way. Now I never will." This is a real big-screen event.

The film’s final twist makes the story close with a satisfying click, though there is something a little smooth about it; for me it works against the story’s social-realist credentials and its evident ambitions for something more mysterious and spiritually resonant. Yet there is great pleasure to be had in those fervent, crowd-pleasing lead performances from Montenegro and de Oliveira.

Euphoric, sad and thoughtful all at once, this strange and wonderful film is rounded off with a gloriously well-crafted apocalyptic vision and a chilling intimation of divine retribution for earthly wrongdoing. The Coens have finished the noughties as America's pre-eminent film-makers.

It’s a beguiling story and Bell and Bening are tremendous as the star-crossed lovers.

Caine's star-quality and absolute ease in front of the camera are fully formed.

The comedy co-exists with a dark view of life's brevity, and Kurosawa devises exhilarating setpieces and captivating images. Arthouse classics aren't usually as welcoming and entertaining as this.

Playtime offers us an even clearer view of the contrast between Tati’s broad physical comedy as an actor and his superbly cerebral detachment as a director.

Profile is a pretty conventional thriller with pretty conventional stereotypes.

An unclassifiably brilliant gem of American independent film-making.

Sixty years on, the big-screen adaptation of the landmark play looks more conservative than revolutionary but Burton’s firepower is undimmed.

It’s impossible not to be swept along and caught by the details: the pompous army officer falling into the barrel, the anarchist (played by a young Klaus Kinski) watching an old couple affectionately cuddling on the train, Zhivago himself suddenly shocked at his own haggard reflection in the mirror. Lean was hunting big game, and catching it.

It takes its audience on a dizzying swirl, like a waltz, or a champagne-induced headspin.

A flawed, but interesting drama.

The action is wrapped up with a slightly ridiculous reveal, which doesn’t quite make sense on its own terms, but Perfect Blue has its own kind of cult pungency.

A bold, intelligent, romantic film with all the lineaments of a classic, and a score by Vangelis as instantly hummable as the music for Jaws.

Trier has taken on one of the most difficult genres imaginable, the romantic drama, and combined it with another very tricky style – the coming-of-ager – to craft something gloriously sweet and beguiling.

It contrives to be a very funny and recklessly provocative homage to Woody Allen, channelling his masterpiece Manhattan and brilliantly finding a fictional way to tackle his personal reputation head-on.

The movie's disturbing labyrinthine story of murder and betrayal now looks like a fable by David Lynch: and the witty, charged dialogue between the leads shows that no screen couple, before or since, had as much chemistry as Bogart and Bacall.

An intriguing, disorientating 60s artefact.

There is a wonderful reach and flair in Kieślowski’s film-making.

But what a triumph this film was for Chapman, who gave a convincing, touching performance as the bewildered everyman who decides to make a stand, and in his battle with the evil empire makes a Luke Skywalker-style discovery about his lineage. Life of Brian is an unexpectedly earnest, sweet-natured hymn to the idea of tolerance.

A plumply overripe fruit of the counterculture, dripping with the juices of spiritual rebellion, semi-comic posturing, consciousness-raising and all-around freakiness.

It’s still a very entertaining and spectacular movie, with a rush of nostalgia to go alongside the exhilaration of fun.

Blade is an entertainingly macabre and excitingly staged action horror, with a propulsive energy and a prototype “bullet time” sequence one year before the Wachowskis made it famous in The Matrix.

For my money, Bigelow says more about the agony and tragedy of war than all those earnest, well-meaning movies that sound as if they've been co-scripted by Josh and Toby from The West Wing.

The pleasure of the music is overpowering.

The film is gripping enough simply with the telling of George's lifestory. A genuine American classic.

The glorious vigour and strength of this film is presented with such theatrical relish and flair: its energy flashes out of the screen like a sword.

Its austere beauty, artistry and wrenching sadness are undimmed after 30 years, and there is nothing distant or still about it.

Wonderful entertainment.

Point Break is a freaky mix of Dog Day Afternoon and Big Wednesday; bank robbing meets surfing.

While the 1960s swung, this spirited, good-natured but creakily old-fashioned picture lived in a different zeitgeist.

Tamahori, director of Along Came a Spider, does a competent, if over-fussy job, but the pace flags in the showdown in Iceland.

The metaphorical properties of The Matrix are part of what makes it so seductive, along with the no-filler-all-killer action.

Seriously bloody horrible in every particular, and uncompromisingly bleak to the very end, this looks to me like the best British horror film in years: nasty, scary and tight as a drum.

Brosnan brings an intelligence and wit, together with a lightness, to the role - his softly Celtic vowels pleasingly reminiscent of Sean - along with a plausible virility Roger Moore never quite managed. And Pierce wears some beautifully tailored suits as to the manor born.

It is an absorbing and moving tribute to the courage of the young victims of Utøya.

Hitchcock's 1926 silent melodrama offers a gripping prehistory not just of his own work, but the Hollywood thriller itself.

It is a sharp, smart picture, with English eccentricity, sly quirk and political subversion, that represents a brilliant and almost unique engagement with contemporary history in 80s British cinema.

This is a diffuse film, and lacks Afterlife's clinching motif. It is uncertain in both its tone and its message - if, indeed, any such message exists, or even needs to.... There is something melancholy and resonant about this film, and it has its own subtle, unsettling effect. [22 Aug 2001, p.12]

This is a heartfelt movie, a documentary unafraid to spread itself across its vast subject matter, and a fierce denunciation of the arrogant political classes, still in denial about one of the biggest tragedies in American history.

Notorious has fascinating echoes of other Hitchcock movies such as Rebecca and Psycho. A must-see or must-see-again.

What strikes you is not simply its energy and vitality and its Dickensian storytelling appetite, but its fierce unsentimentality.

Billy Wilder's distinctive, irreverent slant on the world's greatest "consulting detective" holds up reasonably well 32 years on; you wouldn't expect anything directed by Wilder and scripted by his long-time associate IAL Diamond to be anything less than funny and watchable, and this is both.

This Dracula isn’t from Coppola’s great 70s/80s period, but it has a melodramatic and operatic energy and draws on the look and feel of Hollywood’s pre-Code salaciousness and the silent movie madness of Nosferatu – though the expressionist shadows are blood-red, not black.

The sheer silliness is inspired.

Season of the Devil is the work of a real auteur: every millisecond of his film has been rigorously created. There are moments of dreamlike intensity and the despair of the period is genuinely conveyed. Only the strongest devotee of Diaz could however deny the presence of longueurs in this film.

The Goonies has a rich and indomitable air of all-American innocence.

It is a demanding film, without a doubt – but a passionate one.

[A] sublime classic.

Stanwyck supplies a bravura double performance, a showcase for her brilliant versatility.

The unhurried pace, extended dialogue scenes and those sudden, sinister inter-titles ("One Month Later", "4pm") contribute to the insidious unease. Nicholson's performance as the abusive father who is tipped over the edge is a thrillingly scabrous, black-comic turn, and the final shot of his face in daylight is a masterstroke...Deeply scary and strange.

RoboCop looks more than ever like Verhoeven’s masterpiece, a classic of 80s Hollywood and apart from everything else a brilliant commentary on the city of Detroit; hi-tech RoboCop is a harbinger of the decline of the automotive industry and the ruin-porn wasteland to come.

It is arguably the best film about the first world war, and still has a reasonable claim to being Stanley Kubrick's best film.

It wasn’t until I saw Threads that I found that something on screen could make me break out in a cold, shivering sweat and keep me in that condition for 20 minutes, followed by weeks of depression and anxiety.

It is a brilliant, subversive account of class relations and the changing times.

The material is superb, Neil Innes’ music is tremendous and Gilliam’s animations are timelessly brilliant.

A neglected 1976 gem from a neglected Hollywood genius. May was known for her comedy but here proves absolutely fluent in the language of mobster lowlife, with an edge of caustic, disillusioned humour, and strange yet shockingly real outbursts of violence in which cafe owners and bus drivers are suddenly roughed up.

The ending of Limbo is a disappointment, but this is a film which lingers in the mind long after the final credits.

Down By Law is effortlessly laidback, superbly elegant. Jarmusch made it look easy.

The silence of Jeanne Dielman is the film’s weather and its atmosphere. It is a silence of terrible loneliness, and a silence in which a storm is gathering.

It is even better than the first film, and has the greatest single final scene in Hollywood history, a real coup de cinéma.

The brio and ambition of The Italian Job can’t be doubted and Caine has enormous charisma.

For all its cheesiness, Notting Hill delivers a very great deal of pleasure.

There are some marvellous supporting performances. This film comes as close as possible to a distillation of pure happiness.

If ever a movie came from the heart, it was Giuseppe Tornatore's nostalgic Cinema Paradiso (1988) now getting a rerelease to celebrate its silver jubilee.

This is an entertaining venture with energy, fun and immature bad taste in abundance.

The movie's blazing energy is still astounding; the vérité street-scenes are terrific and Scorsese's pioneering use of popular music is genuinely thrilling.

It is a sombre and painful drama, enacted with reserve. There are no closeups, and it is fully one hour into the running time before we get even a medium shot of the female lead’s face. Even then there are shadows.

The movie still looks very good, and you'd need a heart of stone not to love the cat. [Review of re-release]

The stunts are wildly impressive, especially the motorbike riders who sail through the air in a ball of flame, and the gunplay is unique, although I have never found the term “balletic” quite right for something so brutal and quick. It is all so bizarre that you have to enjoy it.

This is a suspense classic that leaves teeth-marks.

A peculiar, potent film.

Something in its mandarin blankness and balletic vastness, and refusal to trade in the emollient dramatic forms of human interest and human sympathy. Kubrick leaves usual considerations behind with his readiness to imagine a post-human future.

Very few films or plays can survive the stigma of having an exclamation mark after the title, but Fred Zinnemann's bigscreen version of the Rodgers and Hammerstein musical, originally released in 1955, still has some breezy charm and robust American music, under those vast cloud-dappled skies in Cinemascope.

Mug is a strange, engaging film – well and potently acted and directed, a drama that puts you inside its extended community with a mix of robust realism and a streak of fantasy comedy.

Erin Brockovich is a study in Hollywood optimism, and Roberts sells it hard.

The “fascist” staging could have been hackneyed, but Loncraine carries it off superbly as the showcase for action-thriller noir.

It’s a fascinating story but the resulting film insists on a kooky relatability that isn’t really there. A misfire.

The co-directors created from Rumer Godden's novel an extraordinary melodrama of repressed love and Forsterian Englishness - or rather Irishness - coming unglued in the vertiginous landscape of South Asia.

This is an unmissable commentary on Hollywood's rejection of its silent past: a kind of Sobbin' in the Rain.

It’s a tremendous film that was ahead of its time on LGBT issues and, in some ways, is ahead of ours.

This is a pellucid and gentle film, made with the simplicity and grace of a children's tale and yet its humour, emotional clarity and directness speak directly to adults and children alike - and the pre-teen principals shoulder an adult burden of performance.

Roman Polanski's sensational 1962 debut...is an example of how a superlative director makes a film from the simplest materials.

Museum is an oddly genial, garrulous film in many ways – rather like Güeros – and it doesn’t behave quite like a heist thriller, nor exactly like a coming-of-age comedy.

This is a sharp, elegant, unsentimental picture in which Stewart plays a character who is often gloomy and downright unsympathetic.

For me, the film is itself a bit of misfit, full of big stagey speeches, contrived moments and some overemphatic performances, but opened out with muscular style by Huston. The faces of Gable, Clift and Monroe together in closeup have a Mount Rushmore look to them.

It is witty, daring and exuberant; like his hero, Hitchcock shows himself to be energetic and resourceful in dealing with changes in locale. [11 Apr 2008, p.10]

The greatest ever making-of documentary.

Ray's language of cinema is a kind of miraculous vernacular, all his own. It has mystery, eroticism and delight.

Paul Greengrass and his cinematographer Barry Ackroyd have created an intestinally powerful and magnificent memorial to the passengers of that doomed flight. It is the film of the year. I needed to lie down in a darkened room afterwards. So will you.

I can't help thinking that the most interesting things happen in the precredit sequence - the fraught childhood, Blanche's sinister "accident" - but it's still vivid, barnstorming stuff.

Woody Allen said that he could watch a Bergman movie and feel himself gripped as if by a thriller; that's how I felt watching this restored version of John Cassavetes's 1977 picture Opening Night.

It remains breathtakingly good. There is a miraculous, unforced ease and naturalness in the acting and direction; it is classic movie storytelling in the service of important themes.

The stunts are still awe-inspiring, and there's plenty of laughs. They really were thinking big.

2073 is certainly a relevant shout of rage against the authoritarian forces despoiling our democracy and our environment – and the bland and complaisant naivety that’s letting it happen.

It is a brilliant film, but there is nothing sweet about it.

This is a film that carries you along and there is an added savour in seeing those cherubic faces which have since settled into middle age.

Eisenstein's film still has a hypnotic urgency.

Reinvented by Wilder and co-screenwriter co-writer IAL Diamond, Some Like It Hot is effortlessly fluent, joyous and buoyant: a high-concept comedy that stays as high as a kite, while other comedies flag. "Nobody's perfect" is the last line. Wilder, Lemmon, Curtis and Monroe come pretty close.

It may seem grainy and fusty compared to the all-action tongue-in-cheek spectaculars that came later, but it's the Bond closest to my heart.

Lovely performances, and more superb gags in one minute than most movies manage in 90. It's like drinking champagne.

Brando tends to upstage and upend the whole picture in his way.

F for Fake is a minor work in some ways, but there is fascination and poignancy in seeing Welles's elegant retreat into this hall of mirrors.

It is about grief and about the shock of grief and the stabbing fear which, in its terrifying way, gives you a clarified view of your own existence. A film to wonder at.

This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.

It had a miraculously literate script whose every line deservedly became a quotable classic and the film boasts a once-in-a-lifetime combination of perfect performances from Paul McGann and Richard E. Grant as the loafing actors heading for a terrible bucolic weekend, Ralph Brown as drug-dealing Danny and Richard Griffiths as predatory Uncle Monty.

Crash is still creepy, still menacing, still hypnotic, and it is still dedicated, in its freaky way, to the ideal of eroticism, to just drifting from erotic scene to erotic scene without much need for story. But Crash is no longer so contemporary. [4K re-release]

Watched again now, I can respond more strongly to the heartfelt directness and empathy.

It is an eccentric and entertaining movie soap-opera.

It is an absorbing and satisfying drama, and Hurt’s Merrick is very powerful.

It is not free of plot-holes...but what a supremely stylish and watchable picture it is.

Trapero creates a cinematic eco-system that moment by moment, scene by subtle scene, completely enfolds you.

For its control of narrative, its photography of the vanished suburban California of the 1940s, and for its compelling central performance from Crawford, Michael Curtiz’s noir thriller is utterly gripping.

This glorious film is about the greatest mystery of all: how old people were once young, and how young people are in the process of becoming old.

The film, with its transcendentally beautiful visuals...is a rich and rewarding experience. [1 Sept. 2011]

It’s still entertaining and charming in its innocent idealism.

Memories of Murder is a great satire of official laxity and arrogance, and its final scene is very chilling.

Every frame of this film is brilliantly contrived, particularly the underwater nightmare at the end. A gripping, complex chiller.

It is a beautifully acted, exquisitely considered chamber drama of subtlety and nuance: spellbindingly tender and utterly involving

Interview With the Vampire is still horribly exciting, shocking and funny.

It is a bit stagey, but heartfelt and well acted.

It has to be said that there is a level of cheerfully self-aware ridiculousness, which means that 300 is not entirely without entertainment value.

This gripping thriller, part of the BFI's Bogarde retrospective, daringly smashed through 1961's homosexual taboos, but has weathered best as a study of blackmail and paranoia.

Otto Preminger's fiercely austere courtroom drama was strong stuff in 1959.

Utterly bizarre and entirely ridiculous – and yet effective, an imaginative Guignol festival, like the goriest of soap operas, in which one wrong move opens a portal to hell.

There is a spectacular scene in which someone drives a tank off a bridge, and JK Simmons gives the film some ballast as the guys’ scowling commanding officer, but the rest of the time this resembles a TV movie of egregious averageness.

Frustratingly, the film tells us little about the crime itself and the denouement is a little unconvincing. The taste of sweat and fear is, however, real enough.

There's no mistaking its chilling charisma and style. [11 Jun 1999, p.15]

De Niro is the most fluent and relaxed I've seen him for many years, but this is still very low-octane stuff, and the film lamely and unsatirically ends up at the Cannes film festival.

The dialogue is crackling ("Are you alone?" – "Isn't everyone?") and the set pieces, like the one in the antisemitic old people's home, are just superb. Polanski brilliantly shows that money and power are not what's motivating everyone after all. There's a lower stratum of sexual dysfunction and fear at work, which is difficult, if not impossible to understand:: the ultimate meaning of the chaotic "Chinatown" of the title. Unmissable.

A stirring classic.

The Exorcist is diabolically inspired: it’s still capable of making you jump and yelp.

A classic, not to be missed.

Shallow Grave is persistently cynical and uningratiating, a tale of nasty, greedy, stupid people who don’t realise that the finders-keepers rule doesn’t apply to a suitcase full of cash whose criminal owners will not merely want it back but want to create the specific circumstances in which Juliet, David and Alex will be unable to testify against them in a court of law.

It's tremendously good fun, though lighter in tone than Ealing's two scabrous masterpieces Kind Hearts and Coronets and The Ladykillers, and not quite matching their elegant perfection; I've never been able to rid myself of the feeling that, however superbly set up, the aftermath of the heist itself is ever so slightly lacking in tension.

Chahine conducts his big cast with uproarious energy, immediacy and freshness; he has tremendous stylised set pieces, including a railway-carriage rock'n'roll number performed by a group gloriously credited as Mike and his Skyrockets.

It is an eerie, sad story whose meaning disappears over the vast horizon as if on a highway heading away through the desert.

Persona is a film to make you shiver with fascination, or incomprehension, or desire.

It has a claim to be the last movie with the authentic spirit of the Ealing comedies; although with a longer perspective we can also see how it’s also indirectly influenced by producer David Puttnam in its high-minded spirit of Anglo-American amity.

This film is a deeply felt, tremendously acted tribute to courage.

There’s a fair bit of posturing and radical chic happening in this movie and it’s sometimes a little glib. But the droll double-act chemistry between Paterson and Swinton is unexpectedly great, especially considering the enigmatically childlike and lovably humourless demeanour that Swinton often projects.

The anarchic spirit of agitprop pulses from this scrappy, smart, subversive film.

The idea of sacrifice permeates everything, along with the cruelty and horror. This is Cimino's masterpiece.

From the current vantage point, this film, not yet entirely dominated by digital effects, looks like a 1960s-vintage second world war film.

It's still luminous, 52 years on.

Peter Bogdanovich's 1971 ode to a Texan small town is still a masterpiece whichever way you look at it.

Like Solaris, his earlier meditation on the future, Tarkovsky's 1979 film Stalker is mysterious and compelling though in my view not, like Andrei Rublev, in the realms of greatness: a vast prose-poem on celluloid whose forms and ideas were to be borrowed by moviemakers like Lynch and Spielberg.

Akira’s strangeness is very startling and sometimes bewildering. But there is a thanatonic rapture to its vision of a whole world ending and being reborn as something else.

This could be projected on to a wall at a club, but actually being made to sit down and watch it in a cinema is a weird experience.

Sal is not ready for a new political world, whose dawn Lee sketches out here, in which it is not enough simply to refrain from making overtly racist gestures: omission or erasure is equally insulting.

It’s a really watchable film, more substantial than most sports movies and many postwar dramas.

Some elements seem grotesquely dated, but this restoration of the 1939 classic finds the film as powerful and mad as ever.