William Thomas

Simple, but effective.

This will haunt you. The style, the plot, the character and of course ...that tune...

Sidney Lumet's dazzling debut, based on Reginald Rose's teleplay, delivers a masterclass in the pure dynamism of acting, as Henry Fonda's reasonable doubt gradually sways the 11 other jurors from their various prejudices.

This animated treatment does it absolute justice too. The spooky bits are suitably scarey - the production dates back to a time before anybody worried about mentally scarring the little mites, thus the "Have a bite, dearie" scene means a lot of excited peeping through fingers - the slapstick humour content is high and it contains none of the period references that crept into later Disney cartoons, thus doesn't appear to have dated. But largely it succeeds because it really is a great deal of fun.

This is a very patchy affair - while some of the animated pieces work, others come across as downright insane.

The blend of Schrader's script, Scorsese's direction and De Niro's performance is both riveting and unnerving. A film that will stay with you forever.

Faultless, freewheeling-and very funny.

If you want only one Astaire-Rogers musical, Top Hat is obligatory for Astaire at his most debonair with Irving Berlin's title number and Cheek to Cheek in this screwball confused identities plot.

The most purely horrifying horror movie ever made.

Screamingly funny. Few films, if any, can match Spinal Tap for consistent laughs. Every scene is a classic.

We must salute screenwriter Budd Schulberg (his speech for priest Karl Malden in the loading bay is still stirring). Add the acting/writing heroics a restrained score by Leonard Bernstein and a striking, charcoal look by cinematographer Boris Kaufman, and you have an elegiac portrait of labour relations that feels like a kick in the slats.

Little can come close to captivating the grandeur and epic quality of William Wyler's magnificent bum numb-er.

The people do the talking in this rage-fuelled doc and only the stone hearted will fail to be moved by the resilience of the affected and the inaction of their government.

Undoubtedly the finest of Argento's thrilling horrors, this one takes the radical step, for the director at least, to concentrate on a plot that equals the shocking visuals of his other works. David Hemmings is well cast and is given a great script which genuinely frights.

As with most Cassavetes' it is Rowlands who steals this show, this time expertly playing the happy housewife slowly going off the rails while Falk plays the part of her bewildered husband. At two-and-a-half hours, it could easily have dragged but with such strong performances, you're left wanting more.

This is more a favourite of the children than adult Disney fans. It has a few memorable songs and has spawned a very popular stage production.

The rebirth of Disney in the modern era and due to superb songs, enduring humour and a touching plot it remains an animation classic.

Storytelling doesn't get much better than this.

A beautifully presented tale of love, honor and duty from a master film-maker.

Fans can mouth the words of Grant's big speeches along with him, relishing every viperish turn of phrase...this is and always will be a perfect dark comedy and a student staple.

Though glossy, Sirk's film is tightly structured, with a creative manipulation of light and reflection, and heavy with the symbolism of male destructiveness. Unflinching in its often ugly revelation of character and consequence, it's an intense and powerful film.

Sexual tension hangs in the air as the wind blows and native drums beat, but it's on a visual level that the film excels.

Appealing, emotional and with a strong enough performance by Rice-Edwards as the boy in his own little war-free world.

If you are immune to the charms of Carrie and co., this will do little to convert you. Still, it has more than enough sass, style and sentiment to keep the faithful satisfied. Add a star if you're a fan.

Dreamlike Ghibli animation that's well worth seeking out.

Tries just a tad too hard to be a classic, with Ladd's Roy Rogers woodenness not quite getting the depths of author Jack Schaefer's fallen hero, but the support - Jean Arthur as the yearning farmer's wife, Ben Johnson as the conscience-struck bully - are excellent, and some scenes lodge forever in your memory.

Ogata's performance is the obvious highlight, and Imamura constructs an utterly plausible scenario, but at times overreaches, and loses focus. If you can tolerate a few extraneous scenes, though, this is a dark treat.

Not one of Nicholson's best, but an enjoyable comedy nonetheless.