Incredible set pieces and songs that have entered the culture forever, this is also extremely well-paced and beautifully played. Truly one of the greatest musicals ever made.

A perfect ensemble of cast, photography and screenplay are all subtly handled through Huston's direction, bringing out Bogart and Hepburn's performances beautifully.

Kurosawa is always worth a look but this is a particular classic that has influenced so much to come, it's almost essential.

Enough large-scale spectacle scenes to outweigh the inevitable religiose sludge that creeps in between them.

The plotting - Kelly's struggling painter falls for Leslie Caron's French waif, engaged to nice but dull Georges Guétary - lacks the pace, exuberance and wit of, say, Singin' In The Rain, but compensates with fantastic Technicolor visuals..., George Gershwin's sublime music (pick of the tunes: I've Got Rhythm, S'Wonderful and Our Love Is Here To Stay), sublime art direction from the great Cedric Gibbons and astounding choreography and footwork from Kelly.

Alec Guinness shines in this hilarious British comedy.

The intricate work of a craftsman, and a beautiful appearance by the beguiling Simone Sigornet.

This is a superbly crafted, landmark film which invested a much-derided and frequently ludicrous genre with a welcome degree of dignity and respectability.

Epic performances in a movie that seethes with atmosphere.

It's colourful, fun and as surreal as Disney is ever likely to get, this isn't as good as the books, but works as a cute introduction to them.

Evocative and endearing - a worthy string to the Lean bow.

Magnificent absurdist crime drama from the master of suspense.

Great performances lifts this movie above its stilted script and production.

The stinging bon mots occasionally sound handcrafted rather than raspingly spontaneous, but aspiring actress Anne Baxter’s rise to the top over the corpse of her supposed idol, Bette Davis, remains rousing and endlessly amusing.

Subtle, savage and insightful but with such a big heart it is as moving as it is informative about the value of making art that moves.

With such a strong cast, the film almost turns into an ensemble film instead of a star vehicle for Stewart in his first of many collaborations with Mann. An Archetypal Western with the required cowboys, gunfights and damsels in distress, it has become an all time favourite.

Peck's tired resignation, and the authentic atmosphere and building tension make for a compelling retribution drama of the West.

A tight plot that's enriched by wonderfully crafted characters that each have their own key weaknesses.

The director left France during the German Occupation and, many critics would argue, his work never reached the same heights again. But, even with its immediate contemporary relevance softened, this film alone is enough to seal his reputation, as its playful love games, satirical bite and technical marvels refuse to diminish.

Yes, it's beautiful, and yes, it's classic. But it's also got rather a bland pair of lead characters. That said, it's still enjoyable family entertainment, and shall remain forever so.

This was the film which fixed Wayne's image forever as a tough-as-leather patriot with a well-hidden heart.

Darker and more subtly complex than you'd expect from a 1950s crime caper.

Delightful, athletic stuff with some unusual - but wonderful - location shooting. New York never looked better.

A beautifully presented tale of love, honor and duty from a master film-maker.

This has many more plus points than critics at the time were willing to admit.

The Third Man finally endures because it offers a simple thing that so many modern films neglect: the power of story...Revolutionary film noir with a clutch of stunning central turns.

Magnificent examination of the criminal mind and Cagney's finest moment.

A 1949 for-kids version of the King Kong story still boasting a lot of charm.