34 years after it opened, this remains a creative and charming family film.

Roger Moore's second outing as 007 does not do the subject matter justice. Or the character. Or any paying member of the audience.

If the first film could be considered to glorify violence and organized crime, this one shows the consequences of that life. It also serves as a thinly veiled metaphor for American capitalism and its destructive effect on family, cultural heritage, community identity and morality.

The Texas Chain Saw Massacre chopped up our expectations more than 30 years ago, and for that we will always remember - and be thankful that some experiences do stay up on the screen.

Filled with nudity, violence and loads of B-movie fun, Big Bad Mama strikes the perfect balance between exploitative raunchiness, and great low-key action and excitement.

That's Entertainment won't enrich your mind, won't move you emotionally (except for maybe Kelly's classic rain sequence, but who hasn't seen that one already?) and unless you're already a fan of the musicals, probably won't entertain you much. And if you are a fan of those classics, you're better off getting them individually.

Chinatown's deep focus cinematography, dialogue direction and long takes are identifiably Polanski.

Dirty Mary Crazy Larry is a classic heist chase picture driven by a somewhat dated premise and paper-thin characters. But the film makes up for its faults with dazzling stunt work and great action.

Caged Heat is a nudity-filled sleaze-fest, that much is certain, but it's also a haunting little trip with plenty of memorable thrills.

Redford offers just the right amounts of arrogance and innocence to make Hooker a believable hustler but half-hearted scoundrel.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

If you want plot and thespian displays, well, look elsewhere. For action, you can't top this film.

There's a sense of beauty and dread that's cleverly injected into George Lucas' American Graffiti, a tone poem and ode to the music, cars and culture of the early '60s. On one level, the film is a staggeringly thoughtful slice of Americana – one night in the eyes of several young teens looking for love, adventure and fun. But on another level, there's a genuine sense of apprehension. The world is quickly catching up to our heroes, and soon they'll be flung head-first into Vietnam, the hippie movement, and a social revolution

If you like the Blaxploitation flicks of the 70s, this is your candy. If you liked Shaft, but thought it was a bit slow, this one has a little more action, and budget, and its logic matches Shaft in Africa (leads come out of nowhere and thugs appear at the unlikeliest of times).

Live and Let Die isn't the best of the series by far, but it's not the worst either. The fun doesn't last due to the interference of the flimsy plot, centered around one of the least threatening Bond villains ever.

It still seems like a stunning achievement to this day.

You may find yourself passing a very enjoyable couple of hours with the oddest of odd couples. 

The action scenes here are just lame, and given the choice between good action and lame story (as we had in You Only Live Twice) and good story and lame action, I'll take the action every time.

It is a damn good detective movie.

If you are tired of watching the flatfoots who play by the rules and go home to the faithful wife, just kick back and watch my man Shaft in action. He'll remind you what an alpha male detective was all about, I ain't jivin' you, Bumpy.

Like all the best and most beloved family films, there's plenty in this film for adults to appreciate as well as kids.

McDowell is as good as ever here – this time playing Cornelius – while Kim Hunter is hugely sympathetic as Zira.

While Vanishing Point isn't the ultimate car chase movie as Tarantino would make you believe, it's certainly layered with fascinating subtext and few decent chase elements to keep action fans at bay.

Watching real planes crashing into real planes on a runway is flatout exciting, and the bombing sequence here is easily the equal of anything that Michael Bay could do.

A workmanlike sequel, it lacks the wit and intelligence of its predecessor.

I don't want to make the film sound overly heavy by pushing the art side of it; it can be appreciated on so many levels, by children, stoned hippies, or Andy Warhol fans.

Romero’s zombies are terrifying in black and white, but one could even argue who was the true monster in the movie: the undead or the living?

Lee Marvin and Charles Bronson in the same picture. How much more bad-assedness do you need?