Intelligent and moving depiction of the futility of war with a superb script and mesmerising performances from all.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

If you thought the sweetness of The Straight Story was unprecedented in Lynch’s work, look again at this earlier true-life tale of odd, everyday heroism.

An often overlooked fine entry in the Kurasawa canon, this shows a good many western 'epics' how it's done.

This is thoughtful and beautifully observed work, from the social backdrop and the tell-me-what-you're-feeling analysis sessions to the painful performances including Mary Tyler Moore playing against type as the chillingly repressed mother.

Derivative sci-fi hokum but some imaginative touches here and there.

It has lost none of its power: Scum is, in the final analysis, horrific.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

It's not big and it's not clever, but it's very, very funny.

A few memorable scenes but this doesn't keep up the pace or plausability sufficiently.

The distinguishing feature of what many people consider to be the funniest movie ever made is the sheer number of gags.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

And then, of course, there was the music, better music than any film had had for many years.

Ostensibly a haunted house story, it manages to traverse a complex world of incipient madness, spectral murder and supernatural visions ...and also makes you jump.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

As the bodies pile up amongst this testy crowd of horny teens, there remains a vacant hole were someone scary should be. In a strange way, this film stands unique amongst all slasher films as one where the killer is nearly intangible.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

Beautiful to look at, but shot with a cruel and unerring eye, it gives no quarter to the German people for their complicity in events, and in turn disgusts, amazes and frightens.

The kind of film that starts off with a climax and builds to a plateau of surrealist delirium that, one way or another, will have you shrieking.

Heavy but fascinating creepy drama, that lacks pace in the first half but has some genuinely thrilling moments.

Brad Dourif shows he was always great in one of John Huston's better later films.

Despite the always-good Harvey Keitel, this is just embarassing sci-fi nonsense.

Simple, but effective.

Ghoulish, tense and utterly fantastical, John Carpenter's tale of shipwrecked spectres squelching their way through a fluorescent fog to wreak vengeance on a seaside town is a classic campfire yarn.

A pretty craven attempt by Disney to cash-in on Star Wars blockbusting success, this lightweight but well-written sci-fi adventure movie is well pitched at the very young. More discerning fans of the genre would do well to smother their indignation at the levels of general plagiarism floating around the deck of the supership Cygnus.

Savagely witty on backstage life and audaciously edited, Jazz stands alongside Cabaret as the best “musical” of the last 20 years.

This looks, in retrospect, like nothing much more than a glossy soap passed off as serious drama.

A placid, poignant, well-kept secret of a movie.