The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.

Not one of Nicholson's best, but an enjoyable comedy nonetheless.

Dreamlike Ghibli animation that's well worth seeking out.

A rolicking good time is had by all in this adventure that is built on archetypal plot strands that tie together oh so well.

A gaudy, flamboyant expose that asks a lot of its stars, and gets more than it deserves.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

Here is a film fully xenophobic, abhorrent film, touting guileless version of military honour, but with Jack Cardiff’s furtive camerawork and some excellent editing, it sucks you in to its disturbing heroic sweep.

A satisfying come-down by the director, who stays safely within, rather than pushes against comedy conventions.

One of the liveliest, wittiest, cleverest cheapies ever made.

Mia Farrow is note-perfect in this charming little movie.

It is a complex and at times infuriating structure — it often helps to conceive of the film as the book of short stories it stems from — but simultaneously vivid and disturbing.

A whimsical but optimistic tale of mistaken identity, it starred the Material Girl as the cheekily irresistible Susan, and turned Rosanna Arquette (repressed housewife Roberta) into a star.

This is a criminally neglected piece of good gothic fairy tale fun.

It’s juvenilia, straight-up goofballing, but there is a tittering innocence at work here.

A solidly made, sternly acted, and faithful realisation of the distopian novel.

An unredeemable failure on all levels, other than living up to our expectations.

Smart, sassy and sweet. This showed John Cusack's promise as a romantic lead, and some.

Both leads are likeable and have the cutting neuroses that Brooks delivers so well. They can’t really carry the film until the dramatic plot twist but from then on its all good fun.

Hughes has made funnier (Ferris Bueller) and better (Pretty In Pink), but this is the only one you could get away with calling iconic. Good and bad, it's still the definitive '80s teen movie - and, to paraphrase Simple Minds - don't you forget about it.

Arguably Harrison Ford’s finest performance, and one of the strongest thrillers to emerge from the heady gloss of the ‘80s, this is director Peter Weir at his most adept.

A mighty accomplishment, and possibly the bravest Britflick yet made.

Perhaps, it was the choice of material, a much more internalised story despite its glossy Raj setting, or the absence of Robert Bolt as screenwriter (it was he who put the fire in Lean’s belly), but the film, for all Lean’s innate elegance, is strangely remote and unmoving.

For a change, we're in a privileged position, always knowing more than the characters we're following, understanding their wrong-headed thought processes, appreciating the ironies they miss, seeing where a slightly different bit of behaviour would have saved lives or led to happier endings.

In flashback, we see the pair's friendship develop through their childhood, but despite the film's heavily symbolic tone, little is revealed about either of the characters or indeed the Vietnam War.

The film's period settings and spectacular on-stage showbiz set-pieces are fabulous, its meandering script much less so. The thing feels like a movie with its heart ripped out.