Possibly Lean's most complicated movie, Kwai is a towering work.

Effective melodrama with some satisfying emotional confrontations, particularly from Lana Turner.

One of the most legendary tear-jerkers of the 20th century.

In its best scenes, it adds dynamism and British grit to a genre that had previously tried to get by on atmospherics and mood alone. It manages to be shocking without being especially frightening, and its virtues of performance and style remain striking.

It's not as poetic as My Darling Clementine or as historically accurate as Sturges' sequel-remake, Hour Of The Gun, but it is a wonderful evocation of the brassy Westerns of the 50s, when Burt and Kirk demonstrated more machismo than a whole posse of Arnies or Slys.

Sidney Lumet's dazzling debut, based on Reginald Rose's teleplay, delivers a masterclass in the pure dynamism of acting, as Henry Fonda's reasonable doubt gradually sways the 11 other jurors from their various prejudices.

Whilst paranoid in a very 1950's way and a little downbeat at times this is very enjoyable.

Hitchcock's coldest, hardest movie until its controversial ending.

Though glossy, Sirk's film is tightly structured, with a creative manipulation of light and reflection, and heavy with the symbolism of male destructiveness. Unflinching in its often ugly revelation of character and consequence, it's an intense and powerful film.

Entertaining Sunday afternoon stuff.

Despite half-a-dozen recent attempts to "correct" this biopic, Minnelli's agonised portrait of the life of Vincent Van Gogh remains the definitive movie word on the subject.

Who could ever buy Atticus Finch as the demonic Ahab driven by hellfire to hunt down that dreaded white whale?

Even though he was just staring out, Kubrick instantly mastered the crime genre. A stunning film.

Hitch's remake of his own film results in an equally compelling action thriller with sterling performances from Stewart and Day.

In 1956 audiences flocked to The Searchers precisely because it was a John Wayne western, and lapped up its mix of Injun-fightin' action, rough comic knockabout and intense, emotional storyline. Seen now, it is all that and much, much more.

A number of decent performances and a gritty realistic view of London makes this little sci-fi spin-off still worth a look.

A raw, blood-soaked glare into the seedy underworld of sport, with terrific performances by two of Hollywood's heavyweights.

The film's amazing strengths easily outweigh the odd outbreak of hammery.

Meticulously constructed, beautifully played and poignant.

A 50s horror classic that remains a gem of allegorical paranoia.

Romance novel in narrative this transcends its genre with visual depth and perceptive socio-cultural insights.

Still one of the most thrilling and thoroughly entertaining of all musicals.

More Damon Runyan than Irvine Welsh, but as entertaining as it is important.

The red-jacketed, Method-pouting James Dean steals every scene, but the ensemble playing is nothing short of exemplary.

A brilliant musical that still looks fresh today.

A lighter film for Hitchcock but with a wonderfully sewn narrative and some good performances.

Lesser Hitch, but still superb entertainment.

Ignored for a long time, this film is now impossible to ignore. Mitchum is magnetic.