There's something patronising about the way Norman Jewison portrays all these poor but cheerful Yiddish types. The choreography is clumsy, the acting caricatured, and the songs themselves painfully overblown.

A worthy tribute to Bogdanovich's idols, Orson Welles and John Ford.

An intriguing forerunner to François Ozon’s Swimming Pool, it’s languidly paced and elegantly lensed, though its prize asset is Delon/ Schneider’s sexual sizzle.

The blend of stunning music and innovative visuals make this a true festival of the senses.

Adapted from the hit Broadway musical, Funny Girl exudes class - there's a terrific array of song and dance numbers, a tear-jerking storyline and a bevy of colourful costumes. Quirky, charming and very funny, Babs screams talent.

Whether you think it's pretentious or profound, you can't deny that Space Odyssey is a significant landmark in the history of cinema. It's also, as the original posters proclaimed, "the ultimate trip..."

Kobayashi's films frequently puncture the legend of the ever-obedient samurai, scrutinising the value of such a rigid feudal system without completely dispensing with the adrenaline-soaked fun of a good old-fashioned sword-fight.

The sight of SPECTRE’s alligator-jawed spacecraft, its maw opening like an evil steel bloom, is one of the single most brilliant visuals in the Bond canon.

It explores two of the filmmaker’s pet themes – the impossibility of true communication, the futility of art – and is set against the Vietnam War. Extraordinary.

Whilst there is plenty of swordplay involved, it's the war of words and ideals that really captures the imagination here.

Mellow and rich in ironic humour, the film carries an undertow of gentle melancholy; as so often with Ozu, its ultimate message is that loneliness is the human condition.

Losey creates an atmosphere of deepening claustrophobic menace shot through with episodes of savage black humour.

A fun, heart-warming adventure.

Breakfast At Tiffany's still exerts an enduring charm, not least because of the poise and waif-like beauty of the bewitching Hepburn. [Review of re-release]

You won't find a more bone-jarring set of fight scenes than the ones on display here, while Mifune's blood-letting drifter offers a masterclass in justice-dispensing cool.

The ambition is bracing, but critical hindsight obscures how exciting Malle’s noir thriller is on its own terms.

For those who think legendary cine-Swede Ingmar Bergman's films are aloof and coldly austere, this warm, welcoming 1957 road movie of aged reflection - the inspiration for Woody Allen's Deconstructing Harry - might come as a surprise.

But it’s the precision-tooled plot fashioned by Wilder and I.A.L. Diamond that holds it together, creating the perfect farcical playground. Brilliant performances, wondrous comic timing and the greatest pay-off line ever written: this one’s still red hot.

So what if director Charles Walters settles for mimicking George Cukor's set-ups shot for shot - he still deserves a fat slap on the back for flawlessly shoehorning in a half-dozen belting Cole Porter numbers.

This is the flip side to his samurai films, an introspective, naturalistic contemporary drama combining progressive social criticism with a universal humanist message.

Dean's profoundly influential sullen charisma is still captivating.

Romance doggy style, beautifully drawn by the best animators Disney could muster in 1955, and a true classic.

This was the Mamma Mia! of its day, a nostalgic blast of popular Irving Berlin showtunes gift-wrapped in new-fangled VistaVision that danced its way to the top of the 1954 box office.

Everything from the masterly opening sequence to the ambiguous final shot indicates that this is the work of a prodigiously talented director.

What could be better than watching Doris Day reprise her signature role, whip-cracking away in buckskin as the deadwood stage comes a-rolling in over the hills?

It’s packed with in-jokes and lightly disguised portraits of real-life Tinseltown figures; Douglas’ character is reckoned to be across between David O.Selznick and Vallewton. But even without a knowledge of the background, this is sharp, cynical fun.

With Huston spending most of the shoot big-game hunting, it’s probably cameraman Jack Cardiff who deserves kudos for turning this odd-couple romance into such a colourful escapade through east Africa.

In its precision, perversity and stinging wit, Sunset Boulevard still has mighty sharp teeth.