A crisply satisfying tale of espionage from cinema's master of suspense.

A stark and intense film, Jeanne d'Arc is renowned for its sparse shooting style - which focuses in on Falconetti's face with such relentless fascination that everything else (sets, props, secondary characters) disappear from view.

This is a painfully moving story about uncompromising friendship and uncontrollable love - not so much unrequited as undeserving and unfulfilled.

Clear an evening and indulge yourself in one of the few films that can justifiably be called an epic.

If you are at all interested in the history of cinema, or the influence of 20th century politics on the medium, then this film is a must-see, although over an hour of Soviet propaganda is likely to test the patience of modern viewers.

There are great concert movies and great socio-political documentaries, but Summer of Soul combines both in one gloriously entertaining and intellectually astute film.

The thin, conventional storyline is swept along by the imaginative, urgent style with its then innovative jump cuts, overlapping dialogue and handheld camerawork. A landmark film, it forever changed perceptions of cinema.

With Sutherland and Christie in fine form it all adds up to one of Roeg's finest films and an undeniably key work in British cinema.

American society, in all its strengths and missteps, has been a major theme for both Pynchon and Anderson, and it grounds Anderson's dazzler of a film, giving it an emphatic, unmistakable political charge.

It's hard to over sell a movie that is so supremely confident in writing and direction. Despite an almost audience-annihilating run time of nearly two and a half-hours, it is consistently absorbing.

A landmark in the history of cinema that turns melodrama into high art with the story of a hard-up farmer (George O'Brien) whose affair with a city girl (Margaret Livingston) leads him to the brink of killing his doting wife (Janet Gaynor).

The documentary style allows Spielberg to deliver his message without preaching. The clever use of light and shade also makes it visually stunning.

Combining some wonderful song and dance routines with a cast of memorable characters, Meet Me in St Louis is certainly one the best Hollywood musicals ever. It's also one of the least ostentatious.

The finest movie ever made about the narcissistic hellhole that is Hollywood.

It is universal and emotional enough to hypnotise anyone who has been alone in a city, or been spellbound by a film on the subject.

A significant precursor to the same film-maker's North by Northwest, it remains a supremely entertaining and accomplished work in its own right.

A visually rich and morally ambiguous parable of our recent history, it is a paean to decency in an indecent age and a timelessly potent satire of class and nationalism.

Dreams of the future merge with memories of the past as a fascinating array of imagery is conjured to the screen. The effect is sometimes confusing - but always beautiful - and eventually intertwines to a singular life-confirming realisation that cuts through the madness and embraces it.

Each time it is shown, this extraordinary film embraces a new generation of children who succumb to its magic.

David Lean ably directed Noel Coward's script for this intensely passionate film in which almost nothing happens.

In some ways, the film resembles an abyss-black absurdist comedy sketch or a video art installation. It could be said that its sole observation is the continual co-existence of grotesque cruelty and blithe workaday life, but it makes that observation with such rigorous formal control and unblinking dedication that its power to shock never diminishes.

Like any decent slasher movie, there's something unsettling about The Texas Chainsaw Massacre that goes beyond the blood and gore. [4 star rating for DVD only]

Set in the military dictatorship of 1970s Brazil, this buzzy crime drama, which has premiered in Cannes, "makes up in pulpy excitement what it lacks in subtlety", and "bursts with sex, shoot-outs and sleazy hitmen".

It Was Just an Accident is a taut and twisting revenge thriller loaded with heavyweight ethical quandaries. It is heartbreakingly explicit about what the well-drawn characters have suffered, but it asks whether they can ever be justified in using the same methods – abduction, torture – as their oppressors.

Gerwig’s smart, delightful film seems on its way to becoming a classic.

It's a vibrant, joyous piece of technical accomplishment that's probably one of the most relentlessly innovative films you'll ever see.

The sufferings were well worth it, and the Pythons delivered a classic comedy.

This may be Miyazaki's most expansive and magisterial film. If it is not the most instantly stunning, that might be because he takes the time to deliver worlds within worlds, layers under layers, to create an overwhelming experience by the end.