There is true beauty in the realism at the heart of what could come across a fanciful movie plot, with its documentarian coolness of execution, the crisp rhythms of Zinnemann’s direction, we feels we are staring through a window into the shadowy recesses of history.

A demented slice of widescreen right-on action-funk from the blaxsploitation era.

A modernised Bond is dragged kicking and screaming into the 70s.

Comedy has rarely been so intricate, incisive and inspired.

Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.

A resonant film which has a speudo-cult status as everyone has seen it late one night on TV and it's never left them.

Superbly Vincent Price!

A subtle criqiue of the main character that contains some astonishing set pieces.

Interesting for it's historical notoriety, but overlong and dull in places.

Intense direction (Pekinpah) coupled with assured acting (McQueen).

Sartorially dated certainly, but still powerful, disturbing and raw.

Way Of The Dragon is memorable purely for its final Coliseum-set showdown between Lee and Chuck Norris (at the time the holder of countless US and World Karate championships). This is the film that provides just about the best combat sequence ever shot.

It may not consistently stay the distance, but the sublimely funny moments make up for an awful lot of misfires.

With some of the best costumes since the musicals of the '50s and one of the '70s funkiest scores, it's quite rudimentary on most levels - it's no Shaft.

The gorgeous backdrop of the film makes the violence and darkness even more disturbing - but this is more than just a horror film. There's real substance in themes, performances and John Boorman's superb direction.

Not as affecting as Ozu's classic Tokyo Story, Late Spring still charms with it's similar theme of development of the parental bond as the children mature and become more independent. Although well acted, the visual are equally arresting but when the themes are so similar a new approach is required to keep it interesting.

Keeping the dialogue minimal and the action high on the agenda, life in Paris' underworld proves to be surprisingly yet suitably violent and threatening.

Wringing the last drops out of the idea, it strains to stay on-side, but it remains true enough to the spirit of the series to get it over the line.

With Redford giving one of his best comedic performances, helped by a Oscar winning script, The Candidate is witty and charming, while looking good and proving quite memorable, like Redford's lawyer.

Hitchcock's penultimate film deals with many of his previous themes with typical grim comedy and insight into a psychopathic killer's mind.

For exploitation-enthusiasts and Scorsese completists only.

Pollack does right to put his faith in one man and a whole lot of mountains. The result is impressive.

Woody's neuroses are still gloriously present, and the whole thing is made accessible by Herbert Ross' dynamic direction.

John Waters was way ahead of his time with this corruscating '70s vision of small-town Americana.

Weird, but kind of cool.

Thoughtful, moving tale which places its spectacular effects within a humane, elegiac story.

Trying too hard and generally too trying. Seek out Howard Hawke's Bringing up Baby instead and be done with it.

It stands as a hugely enjoyable, occasionally chilling, musical.