It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

The movie that really showed Tom Hanks' promise as a deliverer of great comedy and heart-warming pathos.

A brave effort from Richardson with another outstanding performance from Foster.

This is about as noir as Pete’s Dragon, best to accept its superficiality as a boon - Hackford, at least, gives it a slick exterior - and enjoy it is a vacuous thriller and extended Phil Collins video.

The greatest laugh-out-loud comedy of the 80s.

Fine, stylish debut from Alex Cox with some great turns from the two leads.

Except for the success of Three Men and a Baby, (NOT Little Lady), Tom Selleck had great problems making the transition to the big screen. Here is another case in hand with such stereotypical characters as Hutton dominatrix and Hoskins Londoner.

Tenebrae is essential viewing for fans of the Italian stallion thanks to some of his most arterial gore to date.

It’s a fairy-tale, a glittering New York fable told in a silvery black and white, laden with nostalgia for times and oddities long gone from the hallowed halls of Broadway. Another Allen gem.

Wildly uneven, but funny in a bittersweet tittery sort of way in places.

A hauntingly beautiful film.

Not to everyone's taste, but an earnest and hearfelt tale nonetheless.

Ultimately, BMX bikes and Day-Glo elbow pads just ain't cool. One best left to fond memory.

The Keep wears its crap bits proudly on it's sleeve, its qualities are more hidden and emerge only once you've watched it, dismissed it and then found that it's atmosphere refuses to disperse.

Perfomances are excellent, and despite its moralistic conclusion, the film has since become de rigueur viewing for crack barons, who know a good shoot-em-up when they see one.

Adapted from the Stephen King killer car novel, this John Carpenter film is more like an assembly line vehicle than a customised job, but is nevertheless a slick, entertaining piece of work.

James L. Brooks's clever and witty cry-a-long which has as many guys pretending not to cry, as women unashamedly sobbing.

It has some of that episodic ‘compressed miniseries’ feel which a lot of King pictures get stuck with (the book was later redone as a TV serial with Anthony Michael Hall) but still manages a lot of powerful material.

There is a tender resonance in its cheesy sports drama operating with all the obvious moves.

Consistently compelling, capturing all the ambiguity and tension of the book.

Connery was perhaps wise to call it quits the first time round.

Interesting but flawed.

An entertaining look at the 80s embourgeoisement of 60s student activists steers skillfully between social satire and sentiment.

Lewis Gilbert, and two career best performances from his leading actors, give this film such energy it leaves the pleasant aroma of life and possibility.

As an exploration of cultural discord, Nagisa Oshima's film is pretty thin stuff, despite its reputation. Bowie is a potent irritant, but Tom Conti is solid in support and Sakamoto's mesmerising score sparkles anew.

Better avoided unless you're doing a study on vaguely titillating rubbish 80s animation.

Regardless of its dense intellectual and autobiographical content, however, Mirror can still be appreciated as an attempt to capture the human soul and to show that, for all our diverse individual experiences, we still have much in common on an emotional and spiritual level.

It’s "Ferris Bueller" with an existential crisis. Very funny and very weird.