The first of the silly VW Beetle with a cute personality comedies, is as childish dated and occasionally sweet as the others.

Classic War caper with a few too many plot contrivances but high on adventure.

This has a lot of good ingredients but just doesn't quite manage to pull it off. It's looks dated and Shirley Maclaine doesn't quite capture the sympathies of all audiences.

The film is too long at well over two hours, but the effects are impressive for the time and the musical numbers zippy.

Even if you're not a 'fan' of the musicals, Oliver is so witty, so bright and so endearing that even the iciest viewer should start melting in it's corona.

A garish, gorgeous example of pop art at its finest.

Overlong, it'll most likely try the patience of audiences now accustomed to a bit more bang for their buck, but it's a great deal of fun for those with a penchant for old-style action.

Fleischer mastery of tension and attention to detail make this riveting story a great piece of cinema.

Cheerful, kitsch and camp.

Falls into the "interesting failure" category.

Part of its strength is that it’s not a glossy, predictable Hollywood horror and so it has a grainy, semi-amateur, black and white look which gives it a dread sense of conviction.

For the rare uninitiated, this is a fine introduction to Babs' talents.

It's that smile playing on Rosemary's lips, suggesting that her maternal instinct and the conspirators' hold on this vapid baby doll have prevailed, that provides the biggest chill.

Lemmon and Mathau's finest hour.

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

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

Its faults - sketchy narrative, overblown abstraction - are counterbalanced by its gripping engagement between man and machine, and its rhapsodic wonder at heaven and earth and the infinite beyond.

Also known as The Liver Eaters (although no livers are eaten only a rabbit that may have been a cat) and Cannibal Orgy (though there are no orgies), the long-delayed Spider Baby is definitely one to file under weird and wonderful.

Cruel comedy with a delicious light touch.

Not even a decent performance from Richard Attenborough can save this disappointing production.

Funny and scary, this is vintage Polanski.

Paul Newman gives one of his best performances in this prison film, where he inspires life in to his fellow inmates. Has something important to say with several memorable moments and a superb supporting cast.

An outstanding thriller based on a stageplay (by Frederick Knott) that fits so much better on the screen because, as well as the expansive, cinema is really good at claustrophobia.

It's a slight tale, of course, and incredibly short, but the characters and songs are pretty much perfect viewing time and again.

In a cast of hand-picked loons with ridiculous accents, only Brian Keith, as Taylor's thuggish lover, suggests a human being, while Brando gives perhaps his worst ever screen performance, not counting Christopher Columbus: The Discovery.

Showing that "the little man" CAN make a difference. Marvin is exceptional.

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

The twist-filled storyline, which digs up nasty secrets all over the show and offers a satisfying range of suspicious suspects and a truly disgusting killer, remains gripping, and the excellent, understated lead performances don't harp on the racial angle in that embarassing fashion which makes so many Socialy Significant films instantly dated.