A mysterious army of enemies, with no suggested motive and, what's worse, they're your friendly garden crows. Clamps itself to your recollection and doesn't let go.

A grand folly, but lots to love.

The second half occasionally descends into melodrama, but for the most part this is bleak, non-judgemental, riveting stuff.

Storytelling doesn't get much better than this.

Brando rocks the boat with his dodgy accent and lowers the tone as history gets rewritten as vanity project.

Sour as month-old milk and with a tang of off-screen animosity in its mouth, Robert Aldrich's melodrama is still hysterical in every sense of the word.

A dazzling spy thriller that’s still amazing.

At three hours it does seem bloody long at times, but is still a suitably epic tribute.

One of the Nouvelle Vague's boldest achievements.

John Frankenheimer, during his decade as one of the screen's most innovative and exciting directors, tells a difficult story with imagination and compassion.

The mood of the movie reflects the exuberance of youth and the wisdom of experience. New Wave gold.

Some may find this sprawling film hard to adjust to, but for those who can, it is a real find. With an imaginative plot and an amusing direction, this charming film is a fitting way to end Cocteau's career.

Written with great insight by Kogo Noda and filmed with painterly delicacy by Asakazu Nakai, though Ozu's touch brings the magic to this domestic drama.

One of Heston's best work, this shows our lead at his most macho and heroic, inspiring a whole army while also managing to woo the stunning Loren in this romantic war epic.

This really is the musical for people who don’t like musicals.

Natalie Wood is stunning and the drama is full of passion but this suffers a little from 60s hollywood style.

Audrey Hepburn is delicious as Holly and the Henry Mancini score is in the class of elite soundtracks. [Review of re-release]

There's a huge amount of style in this picture, but also a huge amount of substance underpinning it.

Less visceral than the battle scene in Seven Samurai, this is more of a free-for-all, with brute force leaving no room for skill.

A highly effective merging of star power (both in front and behind the camera) and finely honed horror sensibilities.

Although, beyond the calling of its plot, this set of likable characters do come intelligently alive and there is real directorial skill in the growing tension of the finale — this is not just a mater of blindly going through the motions. Violently out of fashion, perhaps, but inspirational in its own tidy way.

Dog-lovers, in particular, will go ga-ga for this, but this remarkably fresh and funny period tale (set in England, fact fans) has all the ebullience and lovability of its titular characters.

Deep down, you know it's not as good as Seven Samurai — but few films are. You also know that next time it's on television, you'll find yourself watching it.

Spartacus' merry rabble swarms across country to face a Roman army that, seen from a distance, resembles either a group of ants moving in perfect formation or living chessboard squares marching in order — an unbeatable, fascist machine. It's a breathtaking moment, which forces you to realise that Kubrick (before CGI) had to command extras as rigidly as Crassus runs Rome.

Olivier is truly remarkable in his portayal of the hammy actor, anti-hero Archie.

Timeless classic. Superb performances and the infamous shower scene make this the perfect nightmare.

Delightful comedy romance with a clutch of note-perfect performances.

Truly classic film-making.