It was Roman Polanski's genius, however, that made the film not merely an intelligent and intricate narrative but a great, disturbing vision.

Well-shot thriller but with a weak performance from Beatty.

Hodges takes a cool, detached approach, designing most scenes in monochrome with disturbing flesh-colours, and manages to make Segal's semi-android a strangely sympathetic monster.

Pleasant, forgettable.

Eastwood is in good, if not great form, Bridges steals the whole show, and Cimino displays a sense of unpretentious fun and appealing grasp of character.

Another great, landmark American film of the '70s.

Writer-director Jack Hill (Spider Baby) evidently didn't try very hard on this one.

In the grand pantheon of Sinbad movies, those pleasurable Arabesques of silly beasts, big swords and scantily clad maidens, this lower league Ray Harryhausen stop-motion thriller squeezes between the better Eye Of The Tiger and the worse Seventh Voyage.

In essence, Dark Star has what all great comedy has: a sense of desperation and pathos allied to an abiding humanity which elevates it high above the realm of mere spoof.

A good-looking and entertaining British horror film.

An opulent and accurate portrayal of the period that drags too much to stay interesting.

Stands next to Young Frankenstein as Brooks' best movie, and, of course, boasts the god of all fart gags.

Dodgy on every level.

Unlike a number of director’s cuts, this version does embellish the original film. It won’t, however, win any converts. Fans should see it again, first-timers should believe the hype. Non-believers should suffer eternal damnation. [2000 re-release]

This has grit coming out of its ears but not the greatest Eastwood feature by a long shot.

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.

A clarinet player who also runs a health food store is frozen and brought back in the future by anti-government radicals in order to assist them in their attempts to overthrow an oppressive government. When he goes off on his own, he begins to explore this brave new world that has Orgasmatron booths to replace sex and confessional robots.

One of the greatest behind-bars movies ever, the result finds director Franklin J. Schaffner making the most of both his sun-drenched locations and his leading man, who squintily acts even co-star Dustin Hoffman well off the screen.

One of the definitive mystery chillers of all time. Poignant, beautiful and devastating.

Al Pacino delivers a powerful performance in this compelling biopic...of a cop and a city's police force.

Surreal and wonderful in a way not often seen from Europe.

The sight of Brynner walking indestructibly toward the camera, all in black, his eyes cold and unerring like a couple of silver bullets, is as haunting as any screen bogeyman.

Foxes with bows and arrows..what could be better than that?

It all adds up to just another glossy Love Story.

Achingly evocative of a time when Hollywood had the courage to invest in complex and morally ambiguous films and an indisputable masterpiece of American cinema. [26 May 2003]

Terrific. Top shelf talent at the top of their game, working immediately before they would change Hollywood.

Brutal story-line which is about as close to an explicit allegory as the western has ever come.

It's not a great film, but Lee's superhuman skills make it an occasionally jaw-dropping experience.