If an uneasy mix of humour and sadness never quite gels, its message is clear and its cast uniformly strong.

Poor script, poor direction and poor performances mean a dismal 70's disaster movie is the result.

Ogata's performance is the obvious highlight, and Imamura constructs an utterly plausible scenario, but at times overreaches, and loses focus. If you can tolerate a few extraneous scenes, though, this is a dark treat.

A competent, atmospheric remake, but, considering the quality of Murnau's masterwork, is it necessary?

Star Wars it wasn't and still isn't...camp 70's space stuff but the TV series spin-off is a fond memory for 30-somethings throughout the Western World.

Thoughtful trial movie with a disturbing edge.

Flawed but staggering cinema, the unforgettable Apocalypse Now setpieces are extraordinary.

Some interesting creative choices make this more a curio than a great film.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

Bond meets Star Wars in one of the series' sillier outings.

A movie masterpiece.

Sequel manages to retain some pathos and credibility.

Abel Ferrara's debut is in the exploitation ballpark, but it's as much a product of Warhol low-budget artiness as the slasher genre.

It deliberately makes no sense, but it has more bizarro gimmicks to the minute than any other horror picture of 1979.

Genuinely disturbing horror but with Cronenberg producing a slightly deeper edge in his portrait of a troubled family.

Grim, gruelling but beautifully shot, this is intelligent, sophisticated horror.

Despite delicate performances, the lead characters never escape stereotype, and the relationship between them, which should be the emotional heart of the movie, never becomes remotely convincing even on an I Love Lucy level.

The ideas are good enough for you to allow for some risible performances.

Technology, as ever, is examined through a pessimistic prism, but the script is equipped with enough jargon and detail to expose the work and responsibility of the filmmakers.

Forman and screenwriter Michael Weller brought a sense of coherence to the original freewheeling structure and Twyla Tharp's choreography imparted an infectious dynamism. But, the profanity, nudity and disregard for the fourth wall that had made the stage show such a sensation were lost in the translation.

One of Woody's most aesthetically gorgeous films as well as his classic love-hate letter to the city of his soul.

Hill, shooting by night and on location together with his OOP Andrew Laszlo, gives the film dazzling style. New York's oil-slicked streets become a labyrinth lit by pools of reflecting light, both scary and strangely beautiful - grimy realism it isn't. It also manages to humanize the gang-bangers to a surprising extent, illustrating the material and emotional poverty that forces them onto the streets in the first place.

This is lots of fun and the actors definitely look like they're having a good time.

A splendidly detailed and rousing caper movie.

A fascinating film that is by turns fascinating and mysterious.

For once, a great remake, smartly executed. Great performances and a killing ending that will stay with you forever can't hurt, either.

Clint doing roughneck humour with an orang-utan, what's not to like?

Manages to capture the pure heart and spirit of this comic book Americana.