A well observed and deeply tender tale.

Superbly Vincent Price!

A film rich with unforgettable imagery, killer lines and physical thrills.

A wonderful picture set in a world of silly heirs and sharp-eyed dolls as remote from reality and yet wholly credible as that of P. G. Wodehouse.

Those who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll.

Truly great cinema- manages to dodge that 'dodgy sequel' curse with ease.

It's a tragedy that someone else' happy ending is tacked onto his tale, but the film retains enough brilliance to make us glad it's been re-released.

The oddest thing of all about The Wolf Of Wall Street is also the most unusual for a Scorsese film: it is incredibly, incredibly funny.

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

One of those instances where everything good about Hollywood just fell into one place at the right time, it's almost impossible not to get swept up in the vivaciousness of The Sting as a whole. Magnificent, timeless stuff.

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.

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

An exhilarating riff on the cop-thriller drama by a director at the top of his game -- Herzog is also at his most accessible here -- powered by an incendiary performance from Nicolas Cage. A very bad lieutenant, then. And a bloody good film.

Von Trier is a burr under the hide for many viewers, and the unconverted won't be convinced. But it's audacious, beautiful, tactful filmmaking and perhaps the perfect match for "The Tree Of Life" on a bipolar double bill.

Some will find it overly long, but with such a pivotal performance by Cruise and a veritable platoon of Hollywood elite supporting, who can begrudge a bit more screen time?

Getting the best out of a middling novel, Romero finds new, less gruesome avenues for his skills.

As unexpected as it is intelligent, thanks to virtuoso work from Spielberg and Kushner, Lincoln is landmark filmmaking, while Day-Lewis is so authentic he pulls off that stovepipe.

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

As the anger simmers, Kubrick’s camera remains detached, patrolling the trenches, pacing the courtroom. Terse and remorseless it may be, but the final flourish is perhaps the most fitting gracenote in all of cinema.

At its heart, Candyman terrifies because of its ideas. It sinks its horrific foundations very much in the real world of poverty and racial alienation.

A profound, detail-perfect and soulful slice of American family life, with some of the year’s most sincere performances to date.

Middle-earth's got its mojo back. A huge improvement on the previous installment, this takes our adventurers into uncharted territory and delivers spectacle by the ton.

A story even more delicate and moving than Sciamma’s last effort, this takes an unusual and thoughtful look at girlhood, motherhood and friendship. It’s enchanting.

This is smart, silky, sensitive, and funny old-school movie magic.

Sharp, dark, satirical and bone-rattlingly thrilling, with a career-peak turn from Jake Gyllenhaal. It’s this year’s "Drive."

For those who delight in the Coens' divinely abstract take on reality, this is pure nirvana (cross Blood Simple with Raising Arizona if you must), yet beyond the hysterical black comedy, scattered violence and groovy dialogue, there sounds the same song to human goodness which enriched Fargo.

Arguably Woody's finest, now neurotic intellectuals have a film they can cherish.

While it may not be perfect on a technical level, dramatically it’s a blow-your-socks-off triumph. Be moved. Very, very moved.