A grandiose title which suggests some kind of a smutty coming-of-age epic, but in reality only manages to deliver the grubby goods sporadically.

When Danny and Stu are on-screen together – The Escape Artist is immensely enjoyable.

To modern audiences the nostalgia and issues seem dated and trite. Whilst it touches on several interesting themes, Colin Welland's script only succeeds in establishing the tension of the two conflicting characters. He fails to truly engage with the issues at hand, and most surprising of all is how this sporting saga of triumph over adversity fails to ever uplift.

The film‘s sparse narrative exists to simply connect one action set-piece to the next, with sporadic breathing space in between. It’s the kind of undemanding entertainment which was enthusiastically lapped up by viewers during the early video rental era.

The latent wonder of Southern Comfort lies in Hill’s dangerously direction and a script that spits and curses like a troop of undomesticated delinquents.

Richard Marquand opts largely for more intimate surrounding and manages to squeeze out some memorable moments of Hitchcockian suspense and tension.

Raiders of the Lost Ark, the first in the series from Hollywood's own golden idols George Lucas and Steven Spielberg, is still the strongest by far and remains a thoroughly rousing and nostalgic delight to return to.

It's hokey as hell in parts, and the director sometimes shows an uncertainty in tone (resulting in some performances which are pitched a little too broadly) but those imperfections lend an endearing quality to the film.

Funny, exciting, and a little too long, Drunken Master is as charming as it is unbalanced, but its martial arts choreography remains unmatched.

Although many rightly claim it to be the greatest sports movie of all time, Raging Bull’s praise should not merely be confined to one genre, as it is unquestionably one of the finest pieces ever committed to film.

Beneath the video nasty hysteria lies a horror of substantial craft and skill. Its iconic synth theme is on a par with the work of Goblin, whilst its rich cinematography makes the very most of the film’s luscious locales.

The main hook of The Long Riders is clearly in the casting, but this never feels gimmicky in a film that attempts to balance the pastoral and the brutal. It’s a noble ambition and one which works for the most part; there are occasions upon which it means a jarring switch of tone but largely the timbre remains consistently elegiac.

A resolutely offbeat film which offers a richly rewarding and affecting viewing experience if you’re willing to embrace it’s esoteric flourishes.

Herzog may shepherd the creative output, but its Kinski’s impassioned misrule that makes Nosferatu, the Vampyre truly terrifying.

The In-Laws, while not quite a classic is a terrifically inventive and consistently funny comedy, with an oft-imitated but rarely matched star chemistry.

The Brood sees the undisputed king of body horror honing his visceral eye, whilst at the same time offering up several truly iconic images that have quite clearly endured.

Later remade as The Bird Cage, this first adaptation of Jean Poiret’s play is as moving as it is hilarious in its depiction of moral hypocrisy and familial love.

Cimino’s drama does far more than simply function; it’s an awkward, uneasy paean to a dying class that will soon be destroyed by the oncoming march of globalisation

A delight; a silly B-movie with a smart script and an amusing anti-authoritarian undercurrent.

The Driver is a film of types and trends; a cinematic expression of our basest narrative impulses. Directed with remarkable economy, the seasoned Hill keeps everything as tight as possible.

Some films, though very much of their time in style and approach, are timeless in their ability to unnerve. De Palma’s The Fury is one such fine genre exercise.

If you can forgive the cardboard villains and suspicious editing, there is plenty here to hold your interest.

Elevating silliness to the level of profundity, House doesn’t so much serve its swirling madness to you as it dunks your head into a cauldron full of it.

Eaten Alive is plagued by Hooper’s endlessly strange directorial choices, particularly when it comes to getting performances from his leads. His efforts confound rather than disturb.

Network is an outstanding satire that has become more rather than less relevant with each passing year. It is bitingly funny, whip smart and as mad as hell.

Featuring McClure, Cushing and Monroe, these films based on novels by Edgar Rice Burroughs highlight that author’s penchant for adventure stories.

It was Shivers that laid the groundwork creating the blend of sex, distorted psychologies and horror which became Cronenberg staples and his signature style in the years to come.

The choice of casting Bowie as Newton is inspired - the androgynous star perfectly suiting the role of the space visitor. Bowie - in his first silver-screen appearance - excels, creating a perfectly suited sense of tragedy and melancholic ambiguity.