With insightful one-liners by the bucketload and a memorable duo in Dreyfuss and Mason, this serves as a joyful reminder of a genre which has long since past its best.

An epic masterpiece, albeit in need of a tweak here and there.

The film seems to be pitched at shrieking level, as if that’s the only timbre children can register.

Bruno Ganz is excellent as the victim deceived into committing murder.

Suspiria is the perfect antipasto.

Smart and satirical but very dated, obviously.

Roger Moore’s third outing as Bond is undoubtedly his best.

Important, but it echoes a better film - The Texas Chainsaw Massacre.

Jaws but bigger, more mammal, and just plain bad.

Every bit as contrived as the leading lady's hairstyles, and rather less technically impressive, this is still trashy fun.

A solid, child-friendly work which will keep little ones content, if not mesmerised.

More than a fascinating misfire, it’s a rare and telling glimpse into a legendary filmmaker’s fiercely guarded soul.

A famously disastrous follow-up to William Friedkin’s horror hit.

This sprawling epic rewards patience with an emotional pay-off and non-triumphant ending that reminds us all too starkly of the sacrifices made during war.

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

Though the clumsy geometric tentacle that does most of the machine’s evil will cries out for morphing, this is remarkably prescient in its tackling of issues the cinema is only now catching up with, and Christie adds depth to the lady-in-peril heroine. Well worth reassessment.

Cronenberg's sleaziest, funniest film, jammed with juicy gore and infectious shocks.

Michael Caine as a Nazi and Donald Pleasance as Himmler...what more could you want?

Chronicling the 1975 Mr. Olympia contest, where Schwarzenegger faced off against TV Hulk Lou Ferrigno, this is now more a compelling document of his days before superstardom than it is a real insight into bodybuilding.

Same old sequel squanderings.

Well acted genre outing.

The lamest of the three versions but the performances are bearable.

With Haskell Wexler's splendid photography and Leonard Rosenman's fine score, the film provides a poetic yet authentic view of Depression-era America with the symbolic figure of Guthrie (an impressive David Carradine) at its very centre.

This is really Sly's movie as he slugs his way through a heartfelt performance and delivers some cracking punches, both literally and emotionally.

It’s hard to remember that this extremely unexceptional film was a major hit back in the 70s.

De Niro's little known masterclass makes this essential viewing.

The reason Carrie is still held in such high regard as a horror classic is very simple: it's all in the sheer directorial bravado. De Palma at the top of his game.

Network is typical of the cool intelligence of '70s American cinema.