Not even a decent performance from Richard Attenborough can save this disappointing production.

Funny and scary, this is vintage Polanski.

Paul Newman gives one of his best performances in this prison film, where he inspires life in to his fellow inmates. Has something important to say with several memorable moments and a superb supporting cast.

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.

It's a slight tale, of course, and incredibly short, but the characters and songs are pretty much perfect viewing time and again.

In a cast of hand-picked loons with ridiculous accents, only Brian Keith, as Taylor's thuggish lover, suggests a human being, while Brando gives perhaps his worst ever screen performance, not counting Christopher Columbus: The Discovery.

Showing that "the little man" CAN make a difference. Marvin is exceptional.

For better or worse, American cinema changed forever the day Bonnie And Clyde was released. Almost every aspect of it was revolutionary.

The twist-filled storyline, which digs up nasty secrets all over the show and offers a satisfying range of suspicious suspects and a truly disgusting killer, remains gripping, and the excellent, understated lead performances don't harp on the racial angle in that embarassing fashion which makes so many Socialy Significant films instantly dated.

Unarguably one of the great war movies of all time.

Director Lewis Gilbert effortlessly marshals the intricacies of the plot (a nutty plan by SMERSH to ignite a world war), the exotic Japanese locations, and the extravagancies of having hundreds of ninja warriors abseiling into a huge enemy base unfathomably constructed in the belly of an extinct volcano (quite the engineering feat!).

Wonderfully revealing and mythologistic.

It has a wealth of marvellous Western imagery, grotesque-comic business (Van Cleef striking a match on seething baddie Klaus Kinski’s hunchback), Ennio Morricone’s baroque score, iconic stars and unforgettable supporting faces.

Despite being not officially a Bond film this is good solid, entertaining action.

Sharply scripted with a melancholic charm.

Orson Welles second tribute to Shakespeare is an often-ignored masterpiece. Check it out.

Wonderfully complex but warmly human, Bergman's drama is one of his very best.

Leone makes the borders of the frame feel limitless, his camera moves striking out unpredictably as if he could barely tame his vision. Ennio Moriconne’s indelible score added a wild swagger to this oddball tale of a lone guman conniving plan to set two gangs of killers against one another.

An absolute must.

Prestigious, well turned out piece of British historical drama with enough genuine intrigue and wit to persuade some audiences they aren't watching a history lesson.

The story isn't as strong as either Leone or Corbucci's best work, but the iconic imagery and solid central performance from Nero make it easy to see why this became a worldwide success.

Shades of Pinter and Beckett are affectionately retouched with dark humour, dynamic wordplay and a tension all Kubrick's.

Funny in places but not Allen's best writing...and its difficult to get beyond the conceit.

Rarely has screen satire been so bleak or so mercilessly funny.

If you can see past the heavy-handed religious overtones you will encounter an inspired and deeply intelligent Bresson classic.

The effects may have dated, as have the Cold War themes, but the almost real time adventure still has some tension to offer.

Terribly dated, but worth watching for Caine's performance.

A time capsule now of all that was considered controversial and gutsy in 1966.

Less audacious than A Bout de Souffle, this is, however, one of Godard's most accessible pictures. A good place to learn how much of a debt modern cinema owes him.

Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.

Connery [is] cruising by this point and the movie doesn't quite match the swagger of Goldfinger, but still effortlessly plies the glory Bond years, concluding with a stunning underwater battle.

Courtenay is heartbreaking as a broken man crushed under the wheels of a callous system.

Atmospherically black-and-white photography provides suitable accompaniment to Sidney Lumet's unrelenting direction, with the two leads into it with plenty of relish.

The music, even after a quarter of a century, is the film's redemption.

With its driving jazz score, hilarious dialogue and overdrive melodramatics, this is the ultimate expression of the American cinema's greatest fetishes: big breasts, fast cars, tight jeans, and sudden death. This is, in its own way, one of the great films of the 60's.

Interesting portrait of the shallow nature of fame but overall this fails to engage on an emotional level.

Harry Palmer, charismatic but grounded in reality, is the perfect popular bridge between the spectacular escapades of Bond and the cold, harsh milieu of Deighton's embittered, betrayed spies.

Great performances and an innovative approach to a tired old story make this one to watch out for.

One of the greatest screen musicals ever.

Larger than life, faintly ridiculous, completely cool, Goldfinger is the quintessential James Bond movie.

A wonderfully stylish and witty movie classic.

Well at least we get to see him in more leather in this one. Though one could quite possibly live without it.

Still an impressive and disturbing brink-of-doom thriller.

One too many jokes about Dick Van Dyke's dire Cawk-nee accent can drag a movie down.

Make a date to catch this on the big screen and be rewarded with pure magic.

This remains a compelling Hitchcock thriller but it's Tippi Hedron's remarkable central performance which steals the show.

Creepy Price in all his gnarled splendour.

Unlike in The Pink Panther, Clouseau was the real star here.

As a spectacular war film with a powerful moral dimension, Zulu pre-dates Spielberg's Saving Private Ryan by more than three decades. Like the defence of Rorke's Drift itself, its legend grows with the passing of time.

A cracking cold war story.

Elvis not only rocks the city of lights but also showed he could act.

Tragic and tender Fuller classic. Way ahead of its time.

Certainly difficult to define, this period piece messes with genres, power relationships and your head.

The collapse of the Cold War may have left Kubrick's satire on mutually assured destruction less relevant than it was, but it still features Peter Sellers' finest three performances as well as proving that the supposedly humourless Kubrick was up for a laugh.

Disney’s adaptation of the first book in T. W. White’s colourful Arthurian trilogy The Once And Future King (which also served as the source for the musical Camelot) is formulaic matinee fare, competent and sprightly but undistinguished.

Perhaps the best Hitchcock film Hitchcock never made.

This lesser known Kurosawa feature is worth a look, with outstanding performances and stunning cinematography.

The definitive wacky screwball comedy that spawned a genre.

Polanski arrived on the scene with an almost super-human knack for tension; one of the great directorial debuts in cinema's history.

If Tom Jones now feels something of a product of its times, it still deserves credit for attempting something new - no matter how derivative.

An uplifting film that cemented the reputation of its star.

It's one of the most highly-wrought (indeed, overwrought) films ever made, with art direction, editing, sound effects, weird camera angles and lighting orchestrated to fill every frame with hints of the unsettling.

Despite some inventive photography and decent gore for its day, its uneven pace renders it a curio for Coppola fans.

The final act of The Great Escape is a masterfully sustained piece of action and tension as the various escapees struggle for freedom via train, bicycle, motorbike, row boat and hitchhiking. The Great Escape should always be seen. It reminds us of a history that is all too quickly forgotten.

A sprawling anything-goes portrait of the artist and the creative process in crisis.

For sheer old-fashioned, childhood rekindling adventure you really can't go past it - just don't take the rose-tinted glasses off.

Running at just over four hours, it is as spectacular, lush and extravagant as the studio would have liked its audience to believe. But it also has moments of mind-numbing boredom as the plot,– slowed by extraneous dialogue, drags from Egypt to Rome.

Lemmon and Maclaine fail to reproduce the chemistry from The Apartment but this slight film is not as ignorable as reputation suggests.

Newman is at his very best, and the cinematography is backing him up every step of the way. Must-see material.

The beginning of the super-successful franchise, this remains one of the most satisfying Bond films.

Satirical Samurai action of the highest order.

A mysterious army of enemies, with no suggested motive and, what's worse, they're your friendly garden crows. Clamps itself to your recollection and doesn't let go.

A grand folly, but lots to love.

The second half occasionally descends into melodrama, but for the most part this is bleak, non-judgemental, riveting stuff.

Storytelling doesn't get much better than this.

Brando rocks the boat with his dodgy accent and lowers the tone as history gets rewritten as vanity project.

Sour as month-old milk and with a tang of off-screen animosity in its mouth, Robert Aldrich's melodrama is still hysterical in every sense of the word.

A dazzling spy thriller that’s still amazing.

At three hours it does seem bloody long at times, but is still a suitably epic tribute.

One of the Nouvelle Vague's boldest achievements.

John Frankenheimer, during his decade as one of the screen's most innovative and exciting directors, tells a difficult story with imagination and compassion.

The mood of the movie reflects the exuberance of youth and the wisdom of experience. New Wave gold.

Some may find this sprawling film hard to adjust to, but for those who can, it is a real find. With an imaginative plot and an amusing direction, this charming film is a fitting way to end Cocteau's career.

Written with great insight by Kogo Noda and filmed with painterly delicacy by Asakazu Nakai, though Ozu's touch brings the magic to this domestic drama.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

This really is the musical for people who don’t like musicals.

Natalie Wood is stunning and the drama is full of passion but this suffers a little from 60s hollywood style.

Audrey Hepburn is delicious as Holly and the Henry Mancini score is in the class of elite soundtracks. [Review of re-release]

There's a huge amount of style in this picture, but also a huge amount of substance underpinning it.

Less visceral than the battle scene in Seven Samurai, this is more of a free-for-all, with brute force leaving no room for skill.

A highly effective merging of star power (both in front and behind the camera) and finely honed horror sensibilities.

Although, beyond the calling of its plot, this set of likable characters do come intelligently alive and there is real directorial skill in the growing tension of the finale — this is not just a mater of blindly going through the motions. Violently out of fashion, perhaps, but inspirational in its own tidy way.