My Favorite Movies

The best movie ever made. End of.

Daesu Oh is a drunk and a philanderer, but otherwise a fairly typical husband and father. That is until one day he is kidnapped and imprisoned in a cell for 15 years with only a TV set for company and no word of explanation. One day he wakes up on the outside with only a wallet and a phone, and he sets out on a single-minded quest to find out why he was imprisoned and extract bloody vengeance on those responsible. The second part of the Vengeance Trilogy by Chan-wook Park, Oldboy is a bizarre and brilliant film. It constantly wrong foots you and messes with your perceptions, and contains the kind of revelation that makes the kind of so-called plot "twists" of most films look gimmicky and inane. This is the kind of film that blows you away and makes you realise you've been watching the WHOLE THING from the wrong standpoint. As for Min-sik Choi's performance, astonishing is the only word for it...the way such intense emotions and motivations are constantly shifting without ever feeling contrived or forced is just spellbinding. It combines art and extreme violence in a way that reminded me of A Clockwork Orange, but BETTER. It's also stylistically on the same level as Fight Club and is absolutely riveting from beginning to end. A totally flawless modern masterpiece.

A dream-like journey through the horrors and absurdities of Vietnam, this exceptional film is head and shoulders the best war film ever made. Dark, disturbing, intense, intelligent and provocative. The Redux version is an interesting companion piece, although the reasons why the extra scenes ended up on the cutting room floor are obvious. Still, it's a bit like seeing a different side of an old friend for the first time.

Toshiro Mifune plays a wandering samurai who chances upon a small town in which two rival gangs are squabbling for control and decides to manipulate them into killing each other off. Possibly the greatest director in cinema collaborating once more with one of the greatest actors on a script filled with nuance and timeless photography. Mifune's performance is filled with subtlety and charisma as his initial disdain of these big fish in a small pond turns to brutal retribution after his suffering a vicious beating at their hands when he makes the mistake of becoming personally involved. Kurosawa's sense of period and atmosphere is second to none, and his trademark use of composition is breathtaking. Often copied, never bettered.

Intelligent, witty and visually inventive. Not what I was expecting at all! Probably the first movie that made me think of Brad Pitt as a serious actor...

Pulp Fiction skillfully blends the stories of Jules and Vincent, a pair of wise cracking hitmen and their stash of unidentified merchandise, Marsellus Wallace the criminal kingpin they work for, his coke snorting wife Mia, scheming prizefighter Butch Coolidge who double crosses him and a pair of smalltime hold up artists. Upon the success of Reservoir Dogs, opinion was heavily divided as to Quentin's merit as a film maker, many condemning him as nothing more than a plagiarist passing off the ideas of better film makers as his own. Pulp Fiction silenced these critics and scooped the Palm d'Or at Cannes and by rights should have won best picture at the Oscars of that year. As you can probably tell, there is enough material here to make three films, but Tarantino's brilliantly economical script (hard) boils the constituent elements into a brilliant homage to exploitation flicks through the decades. The disjointed timeline works magnificently and the film constantly surprises on first viewing and consistently entertains thereafter. Many speak of memorable scenes and memorable lines from certain films, but EVERY scene, EVERY character and nearly every line in this film has become iconic. It boasts an unequaled ensemble cast of the coolest of the cool actors, a similarly iconic soundtrack and it captured the imagination of an entire generation. This film is, and always wil be, entrenched in my top ten favourite films of all time.

Brilliant plot, fascinatingly told in reverse that kept me guessing til the very end.

Superb ensemble cast in a film that keeps you guessing right til the best ending ever written.

DeNiro and Pacino together in one the the best heist movies ever made. Intelligent script, fascinating characters, and surely one of the best gun battles committed to celluloid

A rural village in feudal Japan decides to fight back against the bandits who have been raiding them by hiring samurai from a nearby town. One of the many remarkable things about Akira Kurosawa's astonishing historical epic is the fact that at nearly 3 and a half hours it never drags for a single second of it's length. Not one bit. That fact alone is testament to Kurosawa's incredible skill as both writer and director. The balance of artful visuals and narrative is perfect, and every character is fascinating and perfectly played, especially Toshiro Mifune's gleeful and almost feral glory hound and Takashi Shimura's good hearted but wily Ronin. And if, like me, you still wanted more after it's not inconsiderable running time, it's Hollywood remake, The Magnificent Seven is a damn fine film in it's own right. One of the pinnacles of world cinema.

What can I say that hasn't already been said? An acting and directorial tour-de-force.

Lester Burnham is undergoing a serious midlife crisis; pining for his lost youth and obsessing over a teenage cheerleader, he's married to a joyless go-getter who encloses herself in an armour of sarcasm and self-help and has a daughter who he cannot communicate with and clearly hates his guts. Most of the laughs in this film are provided by Lester's social rebellion, but it's communication (or the lack of) is what this wonderful film is all about. Full of people who feel suffocated by their own apparently meaningless lives, it's a story of ordinary people full of wants and needs but unable to express them because of the overwhelming feeling that they must do what is expected of them; they must at least APPEAR to be "normal". Lester's fantasies about the young girl are just projections of what he feels is missing from his life, just as his wife's desperate need for "success" are. The cast are all perfect, the multi-layered script sparkles with witty dialogue and it's full of memorable moments, culminating in a deeply moving, insightful and thought provoking finale. Genuinely beautiful.

Francis Ford Coppola's classic gangster saga is the story of a criminal dynasty headed by Marlon Brando in one of his most iconic roles. Coppola's direction is deceptively simple in that he uses no gimmicks or stylistic tricks; he merely allows the story to unfold and lets the superb cast do their thing. Brando's mumbling family and loyalty obsessed don has since become part of popular culture folklore (along with the classic score), and all other accompanying performances are top notch, from James Caan's hot headed Santino to Robert Duval's purely business orientated adviser. But this film is really the story of Michael's transition from honest war hero to shadowy underworld figure, played by Al Pacino in his finest role. The pivotal scene in which his newborn godson is baptised while Michael himself, the newborn "Godfather", is baptised in blood is an all time great. This is the birth of the modern gangster film, and with the possible exception of Goodfellas, it is still to be surpassed.

At the beginning of the nineties, Kurt Cobain and Nirvana looked in disgust at the formulaic, soulless lumbering cash cow guitar music had become, and using cues from grittier, purer classics of the past singlehandedly swept away the self serving excesses of the genre and revolutionised it forever. Quentin Tarantino did exactly the same thing with cinematic crime drama. He examined the logistics of both being an undercover cop and planning a heist and introduced believable characters who spoke like real people; they weren't just posturing stereotypes punctuating another set of pointless explosions and car chases. He created an ensemble cast of actors for their charisma and ability, not their box office drawing power. He scored it with wit using obscure music from the past that complimented the action rather than trying to make a fast buck selling yet another insipid rock ballad to people who don't listen to music. Tarantino has often been accused of plagiarism, and this script does 'borrow' from City On Fire and The Taking Of Pelham 123. But if you ask me, an original but bad film is still a bad film, while an unoriginal but brilliant film is still a BRILLIANT film.

An ex-gunslinger comes out of retirement to collect the bounty on a pair of cowpokes who disfigured a young prostitute. Clint Eastwood directs and stars in a deconstruction of the myth of the old west that examines the kind of man who would exist in a society which provides mean drunks and arrogant, prideful boys with lethal weapons. Saul Rubinek's author of the romanticized versions of the stories provides the eyes through which the myths are dispelled as Gene Hackman reveals the truth behind them. But even Little Bill, himself little more than a brutal thug with delusions of grandeur, revels in his own exploits and it is only Eastwood's reformed killer who shows any shame or wish for redemption for his past actions. In the hostile environment of the American west it is not the most noble or even brave who thrive, but the most cold-blooded and the abilities of a gunslinger could be measured by something as arbitrary as the standard of his eyesight. Also containing comments on the gleeful pleasure the media glean from the violence of others and the consequences of murder, the intelligent, insightful script combines with masterful performances by some of the best actors of their generation to form one of the best westerns ever made and one of the high points of Eastwood's long career.

Following the blizzard (ahem) of hype surrounding the Coen brothers' latest, I thought I'd revisit an old favourite. The Coens once again revisit noir, but at their most playful which is obvious from the opening screen that proclaims "THIS IS A TRUE STORY". It isn't. It deconstructs the genre, transporting it's elements from the shadowy streets of the big city to the bright white snow covered open spaces of Minnesota. The crime is investigated by Marge Gundersson, a waddling, heavily pregnant housewife whose cheery agony aunt approach to the investigation is a million miles from the hard-nosed tough guys we are used to. The crime is planned not by a criminal mastermind, but a cowardly used car salesman with ideas above his station, and perpetrated by a pair of inept and seedy small time crooks. The crime is solved not by a convoluted set of crosses and double crosses, but by a common sense investigation full of amusingly mundane idiosyncrasies which contrasts with the gruesome murders that result. "And all for what? For a little bit of money. I just don't understand." If you don't love it, you just don't get it.

After a lifetime of conquest, ageing Lord Hidetora hands the reigns of power to his eldest son, but banishes his youngest when he questions the loyalty of his two brothers. When Hidetora is betrayed as Saburo predicted, he is left to wander the desolate lands his armies had ravaged in earlier times. Ran was the last of Kurosawa's great epics for which he was forced to seek financial backing outside of Japan where he was considered too old-fashioned. It is a loose adaptation of Shakespeare's King Lear and was clearly a very personal project for him. Unlike Lear, Hidetora is shown as a man repenting his past crimes, and on his wandering is constantly reminded of the life of conquest and butchery he had led up until this point. In fact everyone involved whose interests are in power and material wealth inevitably meet a sticky end and only his victims are shown to achieve any kind of peace. It is impossible not to compare Ran with his earlier works, and because he was virtually blind by the time this film was made, it misses his keen eye for composition and photography; despite the epic scale and colourful costumery, I personally preferred his black and white photography of his classics. The sets and costumes are as epic as the themes and it avoids the sentiment of a lot of Kurosawa's work, but I found Tatsuya Nakadai's performance a little too ripe for my tastes, and is as theatrical as his rather severe make-up. On the other hand the most formidable personality is to be found in the shape of Lady Kaede played by Mieko Harada who, unlike the coquettish Lady Asaji Washizu of Throne Of Blood, is a strong willed and wily adversary whose role turns the entire chain of events on its head. My criticisms are only born of the incredibly high standard of the rest of Kurosawa's work, and by any other it is a majestic period drama full of lush imagery and dark themes that leaves a lasting impression.

Utterly remarkable and deeply harrowing depiction of one of the worst atrocities is human history. Outstanding in every department.

Stunning bio pic and probably Scorsese's best non-gangster related piece. De Niro is remarkable as the thoroughly unlikeable LaMotta, living the excesses and emptiness of the american dream. The boxing scenes are particularly gripping and brutal, and capture the violence and ugliness of the sport that feelgood flagwavers such as Rocky always gloss over.

2001 is a film that does not concern anything so trite as human relationships. 2001 is a film of a scale so epic as to never have been conceived before. Up until 1968, sci-fi was all about flying saucers, death rays and theramins. Kubrick set about making a film themed around the history of the human species, from the dawn of man through to space exploration and beyond. The first thing that strikes you about this film is its sheer visual spectacle; Kubrick's juxtaposition of classical music with the elegance of space travel shows technology not as clunky and ugly, but a thing of beauty. His use of colour is breathtaking, from the cold blues of outer space, to the vivid reds of the ship's systems and the stunning pure whites and primary colours of the still brilliant looking retro future styling of the space station's interiors. He takes pains to show the logistics of space travel, mixing the mundane with the surreal images of an existence without the influence of gravity. But it is the stargate sequence that is the truly jaw dropping part of this film, and it is still one of the most visually stunning scenes ever committed to celluloid. The main criticism levelled at this film is its infamous obtuseness, Kubrick deliberately leaving the implications of the themes he is exploring for the viewer to conclude for themselves. I would seriously suggest to anyone having trouble coming to grips with it to read the book, as it does explain all. Kubrick was an artist, and this is his masterpiece; only he could even have attempted to sum up the entire history of humanity in a single cut. Amazing.

Three stories from the corrupt underbelly of Basin City intertwine involving an aging cop trying to protect a young girl from a child rapist and killer, an psychotic ex-con revenging himself upon those who framed him for the death of a hooker and a killer in the middle of a turf war between the mob and a heavily armed red light district after the girls accidentally kill a corrupt cop. Containing all the trademark Noir elements of Frank Miller, Sin City is cinema aping comic books aping cinema. And it works brilliantly. Rodriguez was the perfect man for the job, and his brilliantly dynamic and stylized visuals combined with a frame-by-frame recreation of the original graphic novel does something no other comic book movie has done before; literally brought the source material to life. Using brilliantly crisp black and white photography splashed with vibrant primary colours and inventive CGI that actually plays a relevant part in the action (for a change) Sin City is surely the best looking movie made so far. Populated with super cool characters played by super cool actors spouting super cool hard-boiled dialogue, this film is...well, you get the idea. It may not be to everyone's taste as some of the violence is a little gruesome and it is can be accused of a case of style over substance, but what style it is. A nigh on perfect slice of popular culture.

Extremely restrained and intelligent examination of the cycle of racial hatred and violence in america, shown from the perspective of two brothers who learn the hard way that the world is not so black and white. Incredibly moving and thought provoking, especially considering the ugly subject matter, and more relevant now than ever in the post 9/11 era.

It's difficult for me to think of this as a sequel per se. It's a true and natural continuation of the original and one of the best films ever made in it's own right. The way the story flits between the story of Vito's humble beginnings when Sonny, Fredo and Michael were infants and compares and contrasts where their lives have brought them is magnificent, the relationship between Fredo and Michael being particularly poignant. We see how Vito used violence to settle scores and remove the opposition, where an increasingly cold and hard Michael uses it as matter of factly as a business tool, even on his own friends and family. Coppolla's uses of light breaks with tradition, choosing to contrast the outside world with the Corleone's dark underworld which is constantly steeped in blackest shadow. This is one of Pacino's best performances, complimented perfectly by Duvall, DeNiro (who makes a very believable young Vito) and Cazale. Complex, sophisticated, and more an experience than mere entertainment.

The second part of the story is rather less action-orientated, and has the feel of film noir cum spaghetti western rather than the out and out chop socky action of volume one, but at the end of the day
they are not really meant to be seen apart. Here we see more of the back story as Beatrix brings her quest for vengeance to it's bloody conclusion. I can easily watch both of these films in one sitting and still come back for more, while so many of the worthy but oh-so-dull film "classics" that pompous and self important film crtitcs consider to be so superior bore me to tears within half an hour. A film for fellow film lovers everywhere made with an understanding of and appreciation for cult film that is unsurpassed.

Tarantino has often been accused of plagiarism in the past, and Kill Bill not only happily acknowledges his many homages it positively revels in them, right from the "Shawscope" intro screen. His films are clearly a labour of love, and every reference, every shot, every song on the wittily compiled soundtrack, even every sound effect has been carefully selected. Tarantino's films are not, as many po-faced critical snobs suggest, style over substance because the style IS the substance.This is a movie for the movie lover, and Tarantino's skill is in his ability to seemlessly blend so many genres, from anime to martial arts to samurai to film noir to spaghetti western to blaxploitation, and create something entirely his own. If his audience dried up, I'm in no doubt that he would continue making films even if it cost him his last dollar, for the sheer pleasure of it. And if it ever came down to that, I'd happily chip in.

A retiring detective and his young successor investigate a series of bizarre murders based on the seven deadly sins. The lukewarm reception for David Fincher's debut Alien 3 resulted in most writing him off as another style over substance hack from the MTV generation, but boy did he learn from his mistakes. No-one was expecting his follow up to be much of interest; let alone a virtual modern masterpiece. Fincher had clearly been studying the stylistic hallmarks of Ridley Scott, and the dark, brooding atmosphere crossed with artistic visuals are very much in his tradition. Although the formula of world-weary educated gentleman cop teamed up with a young hot head is hardly an original one, excellent performances and intelligent writing steer the material clear of cliche, and the imagery of the grotesque never descends into unnecessary gore or sensationalism. Complimented by a suitably claustrophobic soundtrack and a brilliantly unpredictable plot twist, I struggle to see how this film could have been any better. In the absurdly overcrowded marketplace of the serial killer movie, this stands head and shoulders above the rest as the very, very best of the genre. And yes, that includes the over-rated Silence Of The Lambs.

The Elephant Man tells the true life story of John Merrick, a man dreadfully deformed from birth who was saved from a freak show by a kindly doctor to become the toast of Victorian society. The kind of visual gimmickry you'd expect from David Lynch is glaringly absent from this beautiful biopic, he instead tells the story through atmosphere and sensitive character study. It truly is an acting masterclass, with remarkable performances from some of the best British actors ever to tread the boards but it is John Hurt's deeply moving portrayal of the man himself that rightfully takes centre stage. It shows both the heights of kindness and depths of cruelty the human animal is capable of, and instills real emotion and empathy from the viewer without the kind of cynical manipulation and button pushing that most directors resort to. To my mnd, this is still Lynch's best film and anyone who does not shed a tear during its duration is surely made of stone.

Classic science fiction with one of the great movie endings. Don't bother with the increasingly dreadful sequels or chronically disappointing and nonsensical Tim Burton remake though...

The crew of commercial towing vehicle Nostromo investigate a signal from an unexplored planet and unleash a hostile organism. Once again, Ridley Scott creates a totally believable future environment and another classic of modern cinema. Scott uses suspense and atmosphere to gain the desired effect, and it is an object lesson to gore-obsessed horror directors everywhere; less is definitely more. Considering the "alien" is essentially a stunt man in a rubber suit, Scott's use of lighting and sparse screen time for the creature makes it far more terrifying than a hundred CG monsters. Giger's designs are more akin to sculpted works of art than mere special effects, and the crew feel like real people having real conversations, who just happen to also be on a spaceship; even the obviously now antiquated technology has a functionality about it so it still does not look out of place. Scott also employs an element of sexuality to the attacks on the crew, creating a sense of anxiety on many levels; the victims are not only attacked, but violated in various ways. Sigourney Weaver's Ripley is also one of the first "action heroines", always ready to take charge and deal with the situations she finds herself in rather than running around screaming, and Scott also pioneers the now familiar "first person" viewpoint making the film a real groundbreaker. The DVD also features some interesting deleted scenes, particularly the cocoon scene that is expanded upon so effectively by James Cameron in the sequel Aliens. Yet another reason why Scott is one of the most respected director's working today.

In the pursuit of the gleefully sadistic yet cowardly Scorpio killer, played to perfection by Andy Robinson, Detective Inspector Harry Callahan manages to step on the toes of every one of the bureaucratic superiors he holds in so much disdain. The man with no name may have been the character that made Clint a star, but it was Harry Callahan that made him an icon; he is the personification of tough guy charisma in one of the all-time classic cop thrillers. Don Siegel directs with incredible economy, encapsulating Callahan's character in a brief exchange with the mayor and his methods in the classic bank heist shoot out all within the first 15 minutes. No car chases, no explosions, no romantic interest. Just a brilliantly written, perfectly executed hard-boiled crime thriller scored wonderfully by best of the best, Lalo Schifrin. Nigh on perfect.

Steven Spielberg's classic monster movie is a supremely accomplished slice of popular entertainment and one of my enduring favourites. His directorial expertise shines as he perfectly manipulates the mood of the film aided by John Williams frankly perfect score. He contrasts the ferocious attacks with their broiling red stained surf and hysterical screaming with the serene peacefulness of the lapping moonlit waves from the very first scene, and uses misdirection and comic asides to engineer a tangible sense of tension as you wait for the shark to appear. Of course, the clunkily mechanical beast that completely fails to recreate the grace of the real animals is easy to criticise, but for the most part Jaws' presence is hinted at through a clever combination of first person camera work, reappearing barrels and Williams' music intercut with real shark footage and it works brilliantly. The characters are also fantastic, particularly during the bonding scene when Quint intensely recounts his experience of the USS Indianapolis, and there are so many wonderfully quotable lines I could probably recite the entire film from beginning to end. Another of the few films that I could never tire of seeing.

The kind of bleak, self-destructive and tragic love story that's usually the proviso of the French! Alternately funny, sad and moving.

Brilliant revisitation of the classic Film Noirs of the 40s and 50s. Spacey, Crowe and Pearce are all excellent.

Robert DeNiro and Joe Pesci reunite with Martin Scorcese to tell the story of Sam Rothstein, egotistical boss of a fledgling gambling empire in Las Vegas. The pairing of DeNiro and Pesci is once again electrifying, each personifying the flashier, more respectable surface and seedier, brutal underbelly of the mob controlled casino respectively but ultimately it is their own egoism that becomes their undoing. Comparison with Goodfellas is inevitable, and it does not quite match the quality of Scorcese's masterpiece but then again, not much does. It is rather glossier and less gritty, at least until the brutal climax and for me it concentrated a little too much on Rothstein's homelife but having said that, Sharon Stone is a revelation as his cynical gold-digging wife. A reliable formula executed with panache by an unmatched pairing of acting and directorial talent.

The final part of the man with no name trilogy sees Clint competing with his erstwhile partner and a coldly vicious mercenary for some buried stolen loot. The remarkable thing about Leone's series is the fact that even the best film trilogies (ie The Godfather, the original Star Wars et al) good as they were, never quite captured the magic of the original. Leone's however began brilliantly, and just kept getting better. The trio are introduced in highly effective opening scenes once again, often using only eye contact and body language to convey their personalities; it's actually 10 full minutes into the film before a single syllable is uttered. Leone continues the theme of the old west as an environment of "every man for himself" as the characters are constantly backstabbing and lying to each other, even "the good" is an immoral con man who betrays his partner as soon as it is convenient (but I guess "The bad, the bad and the bad" didn't have the same ring to it!) All of this is set to a backdrop of the American Civil war which is treated in a way that has far more in common with Apocalypse Now than John Ford. The scene in which a drunken Union captain prays for the destruction of a vital bridge to end the carnage is particularly memorable. But it is Eli Wallach's Tuco that virtually steals the film out from under Clint; his immoral and cowardly double crosser brings a lot of humour to the film and was surely a big influence on Johnny Depp whilst creating the character of Captain Jack. My only gripe is that Morricone's otherwise excellent score gets a little sappy in the middle, but that's really just a matter of taste. A clear contender for the best western ever made.

Sidney Lumet's classic courtroom drama is based upon a very simple premise; a jury is sent to deliberate on a capital murder case, and one lone juror stands alone against the other eleven arguing that there is reasonable doubt. Virtually the entire film takes place in the same room, and the characters are a deliberate cross section of different personalities from all walks of life. They even remain unnamed for the length of the film. It's basically a tribute to the American justice system and democracy in general; imagine a more high brow version of Frank Capra without the sentiment. Slightly reminiscent of Rashomon, it exposes the preconceptions and prejudices behind the attitudes of some of the jurors and their refusal to accept the possibility of a juvenile delinquent's innocence, and is fascinatingly told as a kind of detective story in reverse, Fonda gradually dismantling the prosecution's case piece by piece. The character's are all really well written, the dialogue taut and the director's skill is consummate as he creates tension and drama without ever leaving the jury room. It's very stagey and occasionally reminded me of a game of musical chairs for that reason, and it may be a little subdued for younger tastes used to fast cuts and gratuitous action, but for me this is still the best courtroom drama ever made.

In a great britain of the near future, a right wing politician has swept to power on the crest of a wave of Daily Mail inspired conservative nazism. Using a combination of spin and propaganda through the media, he has convinced the populace to sign away their rights and liberties until one masked man decides to fight back. Thank god I don't REALLY live in a britain like that...I was expecting great things from this film, it's combination of politics, imagery and stylised action is exactly the kind of thing that appeals to me. Unfortunately, this level of expectation can often lead to disappointment. What I was presented with was a thoughtful, intelligent and wonderfully written "superhero" film in which the hero has no special powers or magic tricks; he is just an ordinary man who decides that an individual CAN make a difference. Hugo Weaving has great presence for a character who never shows his face, and the dialogue is wonderfully florid and literary. There are no unnecessary, overblown set pieces, and the beautifully stylised action sequences are just enough to fulfil their purpose in facilitating the story, and John Hurt is as masterful as the Big Brother figure as he was as it's victim in 1984. I was looking forward to this one immensely, and for once I was not disappointed. Brilliant.

A renegade cop teams up with an undercover agent to bring down a gun runner with a massive arms cache hidden in a local hospital. John Woo is pretty useless when it comes to anything but action, so it comes as little surprise that his best film by far includes very little else. And action it has in spades! The now familiar tough guy cop clad in sunglasses and duster coat, leaping through the air in slow motion, twin pistols blazing has now passed into cliche territory, but Woo invented it. Woo's artistic take on action influenced everyone from James Cameron to the Wachowski brothers and Robert Rodriguez would probably be gainfully employed behind the counter of the nearest Taco Bell without this film. The action is non-stop and absurdly over the top, and if it weren't it wouldn't have worked half as well. It's an exploitation flick cunningly disguised as a cop thriller, and the combination of brilliantly choreographed violence (the extended takes of the hospital shoot out in particular) and super-cool leads makes for an unpretentious, action packed blast. The birth of the modern action movie.

I thought this was absolutely stunning. Brilliant performances, grittily filmed in a pseudo-documentary style. What Training Day should have been

Ripley is awakened from stasis to find she has been gone for 57 years and being made a scapegoat for the loss of her ship. Until that is contact is lost with the colony on LV 426 when she is enlisted as an adviser to a combat unit sent to investigate. The vast majority of sequels are of course just cynical attempts to cash in on the popularity of the original film and rarely have much in the way of cinematic merit in their own right. Aliens is one of the few that not only expanded on the idea of the original but took it in a whole new direction. The production design is superb and every sci-fi movie made since that features military hardware gets its cues from here, and it still looks brilliant. The ensemble cast are all excellent, especially Sigourney Weaver who is far from the usual gung ho bonehead with a gun you find in most action movies. She is a believable character traumatized by her experiences of the first film, unwillingly facing her fears. The soldiers are also three dimensional characters, especially Bill Paxton's smart alec who loses his nerve and their camaraderie and funny banter make you care what happens to them. Other well written characters include "artificial person" Lance Henriksen whose cold fascination for the creatures echoes Ash from the first film and Paul Reiser's obsequious company man, each of whom seem to have agenda of their own. The first half of the film is an atmospheric and cleverly written set up for the second half, which can best be described as a white knuckle rollercoaster ride of breathless suspense and excitement. Their first encounter with the aliens is one of the all time great action sequences and the later scene when they await the second onslaught huddled in a darkened room listening to the sound of the motion detector is utterly gripping. Not to mention Ripley's first sight of the alien queen and their subsequent classic showdown. For me, this is an all but perfect film, and the best sequel ever made.

Removing all the glamour usually associated with the cinematic version of the mob, Pacino's character is a slightly pathetic, shambling figure, trying to get ahead in the criminal underworld without the intelligence or faculties to do so. The result is a believable and human portrayal of one of life's losers. A gangster movie with a difference.

Professional killer Jean Reno reluctantly takes in a 12 year old girl after her family is murdered by corrupt police detectives. Luc Besson's mix of offbeat characters, humour and high octane action tends to be a little hit and miss, but in Leon he found the perfect balance between sensitive character study, emotion and tense action sequences. Pot plant loving, milk drinking loner Reno is the antithesis of the usual testosterone-soaked, gung-ho action hero and with no glib one liners or macho posturing, he takes no pleasure in the mayhem he induces; he's just very, very good at it. His relationship with a young Natalie Portman is sincere, funny and touching, and although emotionally ambiguous (at least from her adolescent point of view), it never crosses the line into sexual creepiness. Complimented by an excellent supporting cast, especially pill popping psychopath Gary Oldman who is the perfect foil for Reno's solitary hitman, and wonderfully scored Leon is easily Besson's best work and one of the best action thrillers around.

There are three Star Wars films. Star Wars is a magical rollercoaster ride of fun and excitement, populated with charming characters you actually CARE about, who have believable relationships in a fairytale universe of good and evil. Star Wars is my first movie love, and no matter how many times I see it (surely a dozen by now) I am still transformed into an eight year old boy for it's two hour duration. Star Wars is NOT a bloated, computer generated toy commercial vomited onto the screen by a beardy old fat bloke's ego. The "updated" version actually points to where the prequels were going to go so horribly wrong. The added fancy CG is distracting and unnecessary, and Lucas manages to neuter Han Solo nearly as soon as he appears by making a couple of amendments that completely miss the point of his character and appeal. Adding insult to injury, he managed to turn a menacing and ruthless underworld figure into a cartoon muppet who does nothing but repeat the lines of one of his minions from the previous scene. Do yourselves a favour and watch the theatrical version. THREE I tell's ya!

The second part of the ONLY Star Wars trilogy cannot match the original for sheer entertainment, but is a rather more sophisticated story with the more adult themes of torture, betrayal and self sacrifice. Han and Leia's "will they/won't they?" romance blossoms, Luke matures from fresh faced idealist into fledgling Jedi and most importantly of all, Darth Vader, surely the greatest movie villain ever, takes his rightful place centre stage (the fact that one of the great cinematic revelations is spoiled forever is yet another reason to hate those wretched prequels). The darker tone is highlighted by the fact that the good guys are roundly beaten on all fronts in a daring move that definitely had the desired effect; I literally could not wait find out how the story would continue. Add improved special effects, immaculate production design and a typically superb score from John Williams and you have one of the best examples of "family entertainment" ever made. George didn't even manage to ruin the updated version, mainly because he resisted the temptation to screw with it; just spruce up the visuals and add 5.1 surround sound. Cinematic magic.

What were the rebel alliance thinking? To any military strategist with half a brain, the obvious way to defeat the Empire's finest shock stormtroopers is to deploy a tribe of furry midgets armed with sticks...it's so simple when you think about it! Well we all know what went wrong with this one, and it's probably where the rot started to set in. The most annoying thing is that the original concept was to have a tribe of tree dwelling Wookiees cracking stormtrooper skulls...how cool would that have been?! Despite the obvious drawback of those fuzzy annoyances, it's still proper Star Wars, with the characters we love in their last ditch battle against the Empire. The attack on the Death Star is beautifully choreographed and thrilling, and Luke's final showdown with Vader was everything we hoped for. The DVD update contains more unnecessary CGI, including a musical number in Jabba's palace that's straight out of The Muppet Show (even the Sarlacc has been turned into Audrey II from The Little Shop Of Horrors) a pan-pipe debacle that's even cheesier than the original final Ewok song, and Hayden Christian's gormless pouty face pasted over Anakin at the end. Again, stick to the theatrical version. The weakest of the originals, but still infinitely better than the prequels.

Classic moral tale of greed and betrayal based upon The Pardoner's Tale. John Huston's finest film and possibly Humphrey Bogart's best performance. One of the best films ever made.

Action films cannot often be described as beautiful, but this forerunner to the nouveau martial arts flicks by the likes of Zhang Yimou and Ang Lee is a joy to behold, and has some of the best fight sequences I have ever seen. An unusual mix of breathless action and stunning visuals by Johnny To.

Ridley Scott's stunning visuals combine with a gritty and humane war story that helps you identify with the soldier on the ground without resorting to glorification or propaganda. Superb

The Coen brothers (almost) never fail. Brilliant noir pastiche that's laugh out loud funny too

Terry Gilliam's bizarre and unique vision of an unspecified time in the 20th century stars Johnathon Pryce as a mid level bureaucrat haunted by dreams of a beautiful woman. When an administrative error results in the arrest and death of an innocent man, he actually meets her and takes on the fascistic establishment (in which bureaucracy has literally gone mad) to "save" her from them. This is surely the film that Terry Gilliam was born to make; it's so uniquely "his" that no-one else could possibly have made it. In fact it's so out of the box that the studio only released it under extreme duress. The production design of retro-styled technology combined with war-time era fashions and propaganda is fantastic and is a clear influence on Dark City which itself is often cited as the template for The Matrix. Many of the images seen here are hilarious and bizarre in an extremely similar way to Gilliam's own animations in the Monty Python TV series, and it visually references everything from Battleship Potemkin to The Empire Strikes Back. The criticism that it's a little self-indulgent and a case of style over substance can be leveled at it, but it's style is brilliant and it's perfectly intertwined with social satire and a lot of very funny Pythonesque humour. Add a fantastic supporting cast including Ian Holm, Ian Richardson, Jim Broadbent, Bob Hoskins and Robert DeNiro as a guerilla heating engineer and you have a film like no other.

Has-been gonzo journalist James Woods sees the civil unrest in El Salvador as a opportunity to make some money but when his Salvadoran girlfriend and her family become embroiled in the violence his attitudes soon change. Salvador is a damning criticism of the US' continued and shameful interference in the affairs of foreign countries. The Reagan era saw the US giving aid to any despot or monster for the sole reason of the fact they were not part of the communist "threat", and funded the military junta in El Salvador despite their atrocious human rights record. The core of the film is Woods' tirade against the US' "military adviser": "Yes I'm left wing but that doesn't make me a communist! When will you people learn to tell the difference?" Showing many of the horrific events of the conflict with honesty and passion, Woods is perfect for the part and is ably supported by John Savage as a photo journalist looking for the "perfect shot" and James Belushi as his debauched companion. The only real flaw is that amidst Stone's heartfelt preaching he forgets the human element, the plot barrelling along with little thought for pacing or emotional connection with the characters. It's a thought provoking and well made film however, and probably Stone's best work.

Two of the best character actors in the business unite to tackle the topic of violence and race hate in the deep south. Terrifyingly, it was based on a true story.

Another Coen brothers masterwork, this time a period mob drama that unusually lacks their trademark humour. It does not suffer for it however, as it is perfectly cast, beautifully shot and cleverly scripted. And has lots of hats.

A scientific research station in the Antarctic is seemingly attacked by researchers from a nearby settlement, but things are not quite as they seem...The Thing is one of the rarest of all breeds. A cinematic remake that is actually BETTER than the original. Easily John Carpenter's finest moment, he cranks up the suspense mercilessly as the small group of characters are cut off from the outside world, using plot elements from both the original The Thing From Another World and Invasion Of The Body Snatchers. Clearly influenced by Alien, and clearly influencing Aliens, the sense of paranoia is palpable as no-one knows who they can trust, and Carpenter skilfully and subtly misdirects you as to who is infected rather than using the usual clunky and ham fisted red herrings that are the staple of the genre. The ensemble cast of paranoid burn outs are all great, especially Wilford Brimley as the only one to understand the true implications of their situation and even the dog puts in a convincing performance (I know how that sounds but watch it and you'll see what I mean!) Featuring another magnificent score by Ennio Moriccone, some wonderful fire and ice coloured cinematography and brilliant animatronic effects that hark from the days before the glorified cartoons that are CGI, this is one of my absolute Halloween favourites.

As great a mainstream director Sam Raimi has become, I still long for the time when he made movies like this one. Hilarious, scary and gross, it reinvented modern horror

Film making at it's most breath taking. Visually stunning, and possibly even better than Hero

Possibly the most beautiful looking film ever made. The fact that QT had to put his name on it to make the great unwashed watch it sums up all that's wrong in the (movie) world

The Coen brothers turn their hand to comedy, and prove themselves to be genius here too. The film that made me realise that Nicolas Cage wasn't completely hopeless. Very, very funny...

A disparate collection of travellers, including soldiers, diplomats, and refugees are thrown together in 14th century china, pursued by the mongol army. Known as The Warrior in the UK, this historical epic inevitably draws comparison to Hero and House of Flying Daggers, but actually is more in the tradition of Kurosawa than those more fantasy based offerings. It's a beautifully crafted historical adventure with just the right balance of heroism and believability, with beautifully shot locations and grippingly realistic battle sequences. Bichunmoo walked the walk but didn't quite have the edge to mix it with the big boys, but this is in a different league. Another reason why I think Korea is making the most exciting cinema in the world at the moment.

I thought I was too old and cynical to be scared by a movie any more. I was wrong...It sent shivers down my spine in a way that hasn't happened since I was a child!

A feast for the senses and one of the greatest performances ever from Welles. This film changed the face of movie making forever and has influenced every single film that came after. A true work of genius.

Crikey. I'd already seen Oldboy and Audition, but nothing could've prepared me for THIS! A severely emotionally disturbed young man is manipulated into expressing his impotence and repressed rage by butchering various gangland targets in a live action manga piece that takes the japanese fascination with amputation and mutilation to the ultimate extreme. It certainly won't be to everyone's taste (particularly if you have a weak stomach!) and much of the plot is not satisfactorily explained, but it's an unforgettably visceral experience.

Leonardo DiCaprio and Matt Damon are two cops; one is honest and taking part in appalling crimes while working undercover, the other corrupt acting under the facade of respectability. Soon it becomes necessary for them to discover each other's identity in a cat and mouse game against the clock. Scorsese's pedigree as a director shines through as this is far from the usual clunky Hollywood remake we've all come to revile. In fact, the spirit of the original is so apparent that it feels far more like the kind of Asian cinema influenced picture you'd expect from Tarantino than a Scorsese, and for that reason, anyone expecting the kind of intensity and provocativeness of Goodfellas or Taxi Driver may be disappointed. The cast are uniformly solid (although the kind of heavyweight performance you'd expect from a DeNiro is glaringly absent) and it's perfectly paced, never dragging for a minute of it's not inconsiderable length. The bleak tone, constant foul language and brutally realistic violence may offend those with delicate sensibilities, but it's hugely entertaining and although the screenwriter cheated a little by including character and plot elements from all three Infernal Affairs films, it surpasses the film it was based upon.

Ridley Scott's modern classic may take a lot of cues from the likes of Spartacus and Ben Hur, but in many ways it surpasses them. The thrilling combat sequences are as good as any committed to celluloid, and as impressive the CG recreation of ancient Rome is, it's the wonderful dialogue, characters and design that breathes life into it. Russel Crowe charismatically heads a magnificent cast, featuring Richard Harris as the ageing Marcus Aurelius Caesar tired of conquest and wishing to leave a legacy after his death, veteran Shakespearean Derek Jacobi providing the political intrigue behind the scenes, scheming to replace the Emperor with a democratic republic, Oliver Reed as Maximus' new mentor dreaming of recreating past glories, and Connie Nielsen as the conniving Lucilla whose true motive is only to keep her son safe. But it is Joaquin Phoenix's Commodus who is the show stopper, brilliantly portraying a spoilt child whose ambition combined with weakness of character and desire for a father's love twists him into a malicious tyrant; the scene in which he assassinates his father is superb. It even takes time out to take sideswipes at modern politics and the media "Rome is the mob. You can take away their freedom, but show them a little magic to distract them and they will still love you for it." This is what brings the film to life, and this level of sophistication makes it's contemporaries such as Alexander, Braveheart or even Scott's own Kingdom Of Heaven look like school pantomimes in comparison. Proof that the Hollywood system in the hands of true artists can produce something genuinely beautiful.

Swashbucklers were deeply unfashionable at the time when Raiders was made, and it took the talents of the then new golden boy of Hollywood to breathe new life into the genre. With a bespectacled alter ego who is a million miles away from his action man persona like an archaeological Clark Kent, Indiana Jones became an iconic action figure who was often knocked on his backside, played fair only when it suited him and was far more interested than his treasure than getting the girl. Sound familiar? Yes without Raiders, Captain Jack would probably never have existed. Like POTC, this film takes its cues from the golden age of the Hollywood swashbuckler, to the point where Ronald Lacey's sinister yet effeminate secret policeman and Paul Freeman's amoral gentleman rogue could easily have been mistaken for Peter Lorre and Sidney Greenstreet respectively. The action is as superbly handled by Spielberg as always, the truck chase scene being one of the all time great stunt sequences and the wholly unexpected finale that blends religious mythology with gothic horror is fantastic. A perfectly judged combination of slam bang set pieces and humour that makes for flawless family entertainment.

Classic tale of cynicism and manipulation featuring reporter Kirk Douglas deliberately hampering the rescue of a trapped mine worker for his own ends. A superb performance and a very clever and insightful script.

Jack Nicholson's finest performance in an intelligent, touching, and ultimately tragic tale of a petty criminal trying to evade prison by feigning insanity. A classic.

Steven Speilberg's coming of age. A beautiful piece of film-making in all departments, telling an incredibly shocking and moving story

Joss Whedon's space western TV show Firefly gets the big screen treatment, and it inhabits the space between Minority Report and The Matrix. A great ensemble cast of well-written characters go head to head with a charismatic villain to expose the folly of an evil empire, not unlike another famous sci-fi franchise; in fact it could be considered Han Solo: The Movie. Intelligently scripted, exciting and full of very funny one liners, this is as entertaining as action sci-fi gets. My only concern is that anyone who has not seen Firefly may not understand many of the character-driven nuances. So go watch Firefly first...you won't regret it!

Erratic, even by Python standards, it still has more laugh out loud moments than even the Life of Brian. I think despite its flaws (particularly the fact they obviously had no idea how to end it!) it is still my favourite Python movie

More of a parody than the usual outright silliness of Monty Python. It was unfairly condemned as blasphemous by religious groups, as the object of fun is clearly organized religion and swords and sandal epics rather than religious belief itself. A timeless comedy classic

A Japan increasingly concerned with spiralling urban violence makes an example of troublesome teens by stranding them on a desert island with the sole purpose of making them kill each other off until just one remains. Kinji Fukasaku's magnificently tasteless satire on reactionary politics could be considered the logical conclusion of reality TV. The concept is a kind of cross between The Running Man and Lord Of The Flies. All the usual High School shenanigans are involved, but the introduction of lethal weapons throws the cliques, crushes and rivalries into a whole new light! The young cast are all great and Fukusaku was a veteran of Japanese Yakuza films and therefore a dab hand at stylized violence; the unrelenting drama and action of a type of slasher film where EVERYONE is the killer means it's virtually impossible to get bored! The sentiment can get a little heavy handed in places but Takeshi Kitano's surreal and sardonic host pops up at strategic intervals to routinely steal the show and stop the schmaltz before it goes too far. Certainly not as profound as it thinks it is, but it's a wonderfully entertaining and unique film that's destined to become a cult classic. Just avoid the dismal sequel (completed by his son after Fukusaku's death) like the plague.

Wesley Snipes once again dons the leather overcoat, this time to join forces with an elite vampire unit to combat a race of Nosferatu-like zombie vampire hybrids who threaten to over-run both races. The high-octane action of the first film is still in evidence, but this time added to by Guillermo Del Toro's keen sense of style and atmosphere. The effects are brilliant, production design fantastic and the clever script involving different factions constantly vying for the upper hand always keeps you guessing; you are never completely sure who the good guys and who the bad guys are. My only gripe is that some of the CGI can look a little cartoony (in a similar way to the Spiderman films) but this is a comparatively minor point. This is a perfect cocktail of vampiric gore and martial arts mayhem that action junkies and horror fans alike should not miss.

Christopher Nolan had already proved he could do characters and dialogue, and in this latest reinvention of the classic comic book character, he proves emphatically that he can do action too. Taking cues from Tim Burton's previous attempt to bring the character back to its dark roots, Nolan's vision is so gritty and believable it makes Burton's film seem as comparatively camp as the Adam West TV series that preceded it. This origin story has no radioactive spiders or associated sillines; just an intelligent examination of a man's guilt and desire for revenge and the psychology of fear. This combined with unlimited resources that wealth can provide, Batman is born utilising some brilliant production design that not only looks fantastic, but also looks plausible. Bale was the perfect choice for the role, bringing a single-minded intensity to the character, and is just as convincing in his pimpernel-esque role as billionaire playboy. The supporting cast of genuine actors including Michael Caine, Gary Oldman and Morgan Freeman add a lot of dramatic weight and the script is cleverly fleshed out. Possibly the only flaws are the fact that although Liam Neeson and Cillian Murphy are both great it lacks a focal villain (something obviously rectified quite spectacularly by Heath Ledger in the sequel) and Katie Holmes is a bit of a dead zone but these gripes are insignificant compared to Nolan's achievement in bringing Batman to believable life. For me, this is the best superhero movie ever made, and it stands up handsomely to repeated viewings. A future classic.

So a new Bond begins a new era, and resets the character back to the beginning. I have to start by saying I thought the previous outing was awful. It was like a cheeseball pastiche of all the worst elements of the worst Bond films; overly formulaic with ludicrous gadgetry, lame innuendo and cliched, 2 dimensional characters. This film is similar, in that it also takes a lot of cues from the previous films (especially from Russia with Love and On Her Majesty's Secret Service.) Except it takes all of the BEST elements of the BEST Bonds and distills them into almost the perfect 007 outing. An uncomplicated but cleverly written plot, gritty, breathless action sequences, a believable and fleshed out love interest, and a charismatic, brutal and amoral villain (to match an equally charismatic, brutal and amoral Bond!) It was about time Bond was dragged kicking and screaming into the twenty first century, and right from the stylishly animated credits which thankfully replace the tacky soft-core porn formula of the originals, they've done a great job. The action sequences are superbly done with a physicality that Daniel Craig suits down to the ground; unlike recent Bonds he not only looks good in a dinner jacket, but also looks like he can rough house with the best of them. Connery will always be the archetypal 007, but bloody hell Craig is good. Sorry Sean, we have a new winner...

When a self-serving operator in a WWII prison camp is suspected of collaboration with the enemy, he is forced to uncover the true culprit. Another of Billy Wilder's cynical classics, there is a lot more humour in the material than you would think. In fact it is often so broad it can resemble an extended episode of Sgt. Bilko, full of fast paced wise-cracking and army camaraderie. It is Holden's character of course that provides the real drama, and he plays it pitch perfectly. Unlike most prisoner of war films that are full of stiff upper lipped heroics, his cynical attitude never wavers and the sharp, witty dialogue makes for some fine black comedy. Easily one of the best examples of the genre.

Antonio Banderas takes up the mantle of the wandering mariachi hunting the drug dealer who murdered the woman he loved and ruined his life. Although Desperado continues from where El Mariachi left off, it's more a bigger budget re-invention of the original than a true sequel, in a similar vein to Evil Dead II. With more resources at his disposal, Rodriguez fulfills all the potential of the idea, with some fantastic John Woo influenced action sequences which have a kind of ultra violent dance choreography and employs his now familiar ensemble cast including Cheech Marin, Quentina Tarantino, Steve Buscemi and Danny Trejo. Banderas has never been cooler, Salma Hayek never more gorgeous, and it's a sexy, stylish and hugely entertaining left-field shoot-'em up with just the right amount of tongue in cheek humour. Still my favourite Robert Rodriguez film.

Brilliantly acted, thought provoking and single-handedly made Tears For Fears cool. I'd love to see the director's cut.

A TV executive decides to remarry 7 years after the death of his first wife, and sets up a fake film audition to look for suitable candidates. This stunningly clever psychological horror leads your perceptions up the garden path and then cheerfully garrotes them with cheesewire; the first half of the film could easily be mistaken for a breezy mainstream romance, but once Aoyama begins to look into his potential fiancee's past the tone darkens into a horrific blend of reality, fantasy and nightmare. Miike takes a familiar formula, this time the scorned woman-turns stalker idea and turns it on it's head; not only does he fail to follow the usual expectations of the genre, he actually uses them against you. The use of colour, and particularly sound is stunning, and the way he transforms the viewer from voyeur to participant by placing you in Asami's interview chair, and later making you the victim of her gleefully child-like torture is deeply unsettling. It won't be to everyone's taste, but fans of stalker/serial killer movies or J-horror shouldn't miss it.

Yes, it's not as good as The Usual Suspects, that much is obvious. But it is an extremely stylish and well written crime drama with some great dialogue and sharply directed Peckinpah-esque shoot-outs. The plot IS rather workman-like, but the joy of this film is in the detail; the same old stereotypical events are given a slightly different spin all the way along the line. I loved it. So there.

This Is Spinal Tap is a mock documentary and affectionate parody of heavy metal and its fans. To be honest, I suspect you have to be a metal fan to truly "get" it, but if you do, it's utterly hilarious! If you didn't know already it could be easily mistaken for the real thing; much of the dialogue was ad-libbed and it just captures the spirit of rock bands and the music biz perfectly. There are so many hilarious scenes I can't begin to count and it's the perfect movie to watch with a beer and a few like minded friends. Even the songs are comedy gold! I've seen this film over a dozen times and it still cracks me up EVERY time!

Stunning gangster drama that proves you don't need constant bloodshed to make an impact. Beat Takeshi is superb as both actor and director, and the ending is deeply affecting. Wonderful soundtrack too

Fast talking insurance salesman Fred MacMurray falls for beautiful but ice cold oil tycoon's wife Barbara Stanwyck and together they hatch a scheme to kill off her husband for the insurance money. Using the classic technique of beginning at the end, the entire story is narrated by a blood stained MacMurray as he gives his insight into the downward spiral his life took the moment he got involved with the irresistible femme fatale. Stanwyck is perfect in this role; glamorous, but with a steely gaze that belies the emptiness of her heart. As is MacMurray playing the sap who thinks he is in control, but Edward G. Robinson still manages to steal every scene he is in as the wily investigator. Anyone looking for a feelgood movie with a happy ending should give this one a miss, but if it's an expertly written, brilliantly played and influential cornerstone of an entire genre you want, this is straight down the line...

William Powell and Myrna Loy are the mother and father of the buddy detective movie. A great mystery investigated by a pairing rarely matched for chemistry, the hilariously witty banter is a joy making this one of my all-time favourites. A nigh on perfect comic thriller.

The inspiration for The Departed, this is one of the seminal Asian crime dramas of the last few years. Well, ever, in fact. My main problem with it is that I REALLY wish I'd seen it first. The difference between this and The Departed highlights the difference between HK and US movie-making in general; The Departed was full of colourful language, brutal violence and macho posturing, while this is a far more sophisticated and understated affair. Unfortunately this means it is far more reliant on the twists and turns of the very cleverly written plot, and so anyone who has seen The Departed already will know what's going to happen in advance. If viewed the other way round, one can still enjoy Scorsese's reinterpretation of events, and his characterful embellishments. It is a stunning piece of film-making, but I would seriously suggest to anyone who has seen neither to go for this one first.

A ruthless mobster and his gang hold a group of hotel guests hostage during a hurricane on the Florida Keys. Another Noir from John (The Maltese Falcon) Huston featuring the classic pairing of Bogart and Bacall, this film does not quite live up to the promise of these ingredients, but that's a hell of a pedigree to live up to. Making Bogart a do-gooder war hero and Bacall a doting widow takes the edge off their usual cynical, hard-bitten sparring and this overly wholesome approach means that the crackling chemistry they have shown in their other films is compromised. Robinson and Claire Trevor as his soused moll provide the best moments, and his sneering diatribes against Bogie's moral stand are great. The hurricane enclosed setting makes for a nice pressure cooker environment in which the protagonists show their true colours and puts an interesting spin on the usual Noir ingredients. Maybe not the most original or inventive examples of the genre and it misses the firecracker dialogue of the likes of The Maltese Falcon, but it is still effective, atmospheric and constantly entertaining.

Following the lives of a group of friends and their extended circle growing up in the slums of Rio De Janeiro, this story will strike a chord with the poor and desperate around the world. Honest and hardworking Rocket slaves away for a pittance while watching brutal hoods take everything they want without conscience. The authorities care little for this unwanted underclass so the ruthless run free to perpetuate an endless cycle of violence when desperation gives way to greed. This film is a stunning experience as you watch children play cops and robbers with real guns as only the most coldblooded and ruthless survive; the cinematography is truly gorgeous, almost too much so considering the subject matter. The performances are also totally convincing all round; even to the smallest child. Direction is similarly flawless, brilliantly revisiting characters and plot points at strategic intervals and masterfully recreating a sense of time passing and the evolution of this criminal "dynasty", only for it to be shockingly ended by the next generation. Add to this the fact that this story is actually true and you have a film of incredible resonance. One of the best crime stories you will ever see.

Classic Hithcock, typically rooted in voyeurism. The suspense is cunningly cranked up as the jovial early scenes are gradually darkened with mounting circumstantial evidence of a grisly murder, and Stewart's helplessness as he is confined to a wheelchair plays a major part in the tension.

Sumptuous adaptation of the stage play based on the life of the great composer accompanied by some of his greatest works. Funny, moving, and rightly (for once) multi Oscar-winning

Now this is MUCH more like it! After a shaky opening that was all clumsy exposition and no plot, the story centres far more around Wolverine, who was always the most interesting X-Man. The clever plot makes use of the political back drop of mutant witch hunts set up in the first film and introduces William Stryker, a military scientist with a fascistic agenda to rid the world of the mutant "problem", citing a phantom terrorist threat as a justification for his Draconian methods (sound familiar?!) It intelligently introduces Mastermind and Nightcrawler and Logan finds a match for himself in the gorgeous and enigmatic shape of Kelly Hu. The opening scene alone is more exciting than every action sequence in the first film put together, and the characters and their relationships are far more fleshed out, providing much more of the grey moral areas that made the X-Men comics so good. It also subtly seeds some of the most interesting plot themes from the comic book stories (which were all unfortunately completely wasted in the dire Last Stand...) Add extremely stylish visuals, super cool characters and loads of memorable scenes (the pick of which is probably Magneto's escape from his plastic prison) and you have one of the best superhero movies ever made. Pity the third one was such a pile of crap...

A stubborn English Colonel locks horns with a similarly duty-bound Japanese prison camp commander over the building of a strategically important railway bridge during the second world war. David Lean's prisoner of war story is a tale of obsession, and it is the battle of wills between Alec Guiness and his Japanese counterpart that forms the core of the story. Examining the cliche of the British stiff upper lip, although Guiness' obstinate refusal to co-operate with the enemy gives his men the spirit to carry on, it is more his own personal obsession (bordering on insanity) than heroism that eggs him on. On the other side of the coin, it is William Holden's hustling commander, actually more interested in self-preservation (echoing his role in Stalag 17) who must show him the error of his ways during an unforgettable finale that brilliantly captures the madness of war. It is maybe a little longer than it needs to be, as the central section away from the bridge itself is rather less interesting, but Guiness' performance is superb, and this film is rightly considered as an all-time classic.

Based on true life memoirs of people who were actually there, this starkly gripping depiction of the last days of the third reich can hardly be described as an enjoyable experience. The german people are suffering terrible hardship as the attacking Russian forces reach Berlin while Hitler's cowardly henchmen are attempting to make their escape or plotting the murder/suicides of themselves and their families when faced with the consequences of their monstrous actions. Lynch mobs roam the streets dispensing "justice" against suspected traitors (who in Hitler's deranged eyes seemed to include virtually everyone) and ill-equipped professional german soldiers are ordered to fight to the death in the face of certain defeat. The entire cast of the film are superb, but it is Bruno Ganz's remarkable performance that is the centrepiece of the film, his portrayal of Hitler veering between twitching broken shell and wild-eyed delusional maniac (who even at the end still commanded occasionally fanatical belief in him from some of his people) is totally convincing. It is still difficult to fully comprehend what you are seeing even as it happens in front of your eyes, and I was left feeling shellshocked at the film's end; I intended to watch another afterward, but everything else just seemed silly and trite by comparison. Possibly the most important film made about WWII, and something everyone simply must see.

An intelligent, witty love story despite the presence of the usually irritating Jim Carrey. There are some great visual touches throughout the film, often used with great subtlety in the background and it's a great deconstruction (literally!) of a relationship and it's decline. It would've got full marks if it weren't for Carrey's insistence on doing his little boy schtick yet again...a chick flick that the men-folk can enjoy too.

One of those films that's impossible to adequately describe. Harry Dean Stanton is one of those faces that everyone knows without knowing they know; an understated and remarkable character actor who took very few lead roles. Add to his wonderful performance a captivating script of emotional resonance and some truly beautiful allegorical images and the result is a cinematic work of art.

Grim and disturbing blackest of the black comedy featuring a self obsessed writer coping with writer's block and amiable sociopath John Goodman in a seedy motel. Again the Coen brothers take a distinctly unpromising sounding premise and create a comic masterpiece

Visually gorgeous french hybrid that's mystery, action/fantasy and period drama in equal measure. Reminiscent of The Company Of Wolves in the mould of Guillermo Del Toro. I loved it!

A more human telling of the Vietnam experience than it's bleakly factual contemporary Full Metal Jacket, this film is almost scuppered by the gimmicky casting of Charlie Sheen in the lead role. The strong supporting cast make up for his obvious shortcomings as a serious actor, however. Watch out for a young Johnny Depp as Lerner.

Template for QT's Reservoir Dogs, this is HK crime drama at it's finest

Harrowing representation of a soldiers passage through boot camp to the jungles of Vietnam, this film shatters many of the accepted war movie cliches. Bleak and emotionally draining, which is obviously the point.

Although the scene setting is a little over long, this is still a remarkably powerful war film that studies the impact of Vietnam on a group of smalltown friends at a very personal level. Uniformly excellent performances, especially by the haunted Christopher Walken and an unforgettable climax.

A group of Scottish junkies and misfits try to make their way in 90s Britain. Trainspotting is a true zeitgeist movie, and sums up perfectly the time in which it was made. Irvine Walsh's story is well observed and full of amusing tirades against 90s society with drug references that are non-judgmental, trying to show both the cheese in the mousetrap of addiction as well as its terrible consequences. Despite the grim subject matter, there are a lot of laughs to be had cleverly counterpointed with the horror and degradation that a drug habit can cause. This is the film that rightly catapulted Ewan McGregor to international stardom with Robert Carlyle deserving an honourable mention as the hateful and clearly psychotic Begby. The plot is slightly flimsy but the film has a lot of energy and although it has inevitably dated as it is such a product of its time, it's still a bit of a classic of British cinema.

Hitchcock made a few propaganda pieces during the course of WWII, but this is easily the best. Based on a story by American novelist, John Steinbeck, the entire film takes place within the confines of a small lifeboat which serves as a microcosm reflecting the world affected by the war. The story revolves around the two main characters, Tallulah Bankhead's sassy reporter, and Walter Slezak's obsequious U-Boat captain, who is rescued after his submarine is sank during the battle. Bankhead plays a particularly strong character, devoid of the usual femme fatale traits that usually associated strong female leads during this period, perhaps nodding towards the changing role of women in society necessitated by the war. She seems to represent the role of America, initially acting only as observer, unwilling to get her hands dirty (literally). As she experiences the hardships suffered by the other characters she gradually sheds her interest in material posessions, eventually becoming the driving force that unites them to escape their situation. Slezak personifies the Nazis, not demonised or shown as a monster, but rather an insidious, arrogant and self superior man, who lacks any hint of human compassion. This lack of demonisation is added to by the treatment of the young German sailor who pulls a gun on them as gratitude for his rescue, but he is shown more like the victim of indoctrination into an evil mindset, rather than an evil person himself. The final speech by Bankhead is the crux of the story, as she claims that they were only victims of "mob" thinking while subjugating themselves to Slezak's will when it seemed most convenient to them, rather than fighting for their liberty; not only a criticism of the German people for allowing Hitler's rise to power, but a warning to the rest of the world as to the price of complacency. All in all a cleverly scripted and unusually sophisticated propaganda piece directed by a master.

Classic WWII POW movie with a cast crammed with stars and thesps alike, and proof that Charles Bronson could actually act when he wanted to. But of course, it's Steve McQueen who steals the show. One of those films I never tire of seeing.

Extremely complex and suspenseful study of a triangle of characters living under the shadow of a tragic past event. Classic Hitchcock.

Woo ditches the cheese that tainted the original and concentrates on the most intense action you are likely to see. Probably the highest body count too!

The funniest stand up comedy routine ever. Full stop.

A pair of bickering escaped slaves stumble upon the mountain hideout of a defeated general and his princess who are being hunted by the occupying army. They decide to join forces (with the added incentive of a horde of royal gold) to reach friendly territory. Widely acknowledged as the inspiration for Star Wars, it has also influenced a huge number of other stories including TV show Monkey, Hero and everything in between. The imagery is as gorgeous as you'd expect from Kurosawa, the characters brilliantly written and the performances all perfect, from Toshiro Mifune's commanding general, to the striking Misa Uehara as the noble but fiery princess. The two greedy and bad tempered slaves provide the comic relief, and it has everything you could possibly want from an adventure; laughs, action, excitement and heroism. Yet another masterpiece from a true genius.

An emotionally shattered ex-detective becomes obsessed with a young woman who resembles the love he failed to prevent from committing suicide in one of Alfred Hitchcock's great psychological thrillers. James Stewart gives one of his most intense performances as the disturbed acrophobic, and although not really known for her thespian skills, the lovely Kim Novak is actually very convincing in her dual roles as haunted heiress and stalkee. It's one of Hitch's most visually creative films with some very clever and subtle visual tricks and uses of shadow and lighting complimented by a wonderfully other-worldly soundtrack. Mixing elements of psychology, obsession, the supernatural and an extremely clever noir-style plot this is a unique film and one of the true classics. The climax is unforgettable.

John Ford's My Darling Clementine is one of the earlier treatments of the Wyatt Earp story and it's still one of the best. Henry Fonda is as rock solid as always as the reluctant law man but it is the supporting cast that adds the necessary spice to the story, particularly Walter Brennan who shows there was far more to him than the grizzled old caricature that became his trademark as the callous and black hearted patriarch of the Clanton clan. Victor Mature's limited thespian talents actually work here as his Doc Holliday is as stone-faced as he is self destructive and Linda Darnell is sex on a stick as the extremely noirish and fiery tart with a heart. There is also some great night time photography adding to its noirish feel and the final showdown is realistically atmospheric. It may lack the grit and spectacle of post-Leone westerns but for those who enjoy a traditional tale of the old west, this is an enduring classic.

Yet another great western from Clint, he directs with real conviction probably more in the no nonsense style of Don "Dirty Harry" Siegel than Leone, but the result is an affecting and hugely likeable story. Josey Wales is a farmer who joins the southern rebels when his family is butchered by unionist raiders, only to see his friends murdered when they try to surrender at the end of the war. While on the run from their now state sanctioned killers, he encounters and befriends an entourage of oddballs and misfits who become his surrogate family. The first half hour is a fairly generic revenge western, but things come to life at the appearance of Chief Dan George, who brings real warmth and humour to his character, a kind of deconstructed portrait of the noble savage who is dismayed at his waning powers when faced with old age and "civilisation". Clint is also at his laconic best, of course adept at the machismo-fuelled gunplay, but also bringing real humanity to a man who finds more to live for than vengeance. Great stuff.

The introduction of the iconic man with no name saw Clint Eastwood catapulted to international stardom in this remake of Akira Kurosawa's masterpiece Yojimbo. Of course there's a certain irony in the fact that an Italian remake of a Japanese film shot in Spain would be the birth of the modern western, but the elements combine to fit the setting of the old west perfectly. The script has taken rather a trim in comparison, this film concentrating on machismo and gunplay rather than the more artful and character driven original; the result is that Eastwood's gunslinger comes across as more of a cynical operator than Mifune's aimless but moralistic samurai, and the build up has a brisk, almost rushed feel about it. But this film is all about the showdown at the end which, combined with Morricone's unforgettable score, is classic Leone.

Extremely bleak and funny black comedy with both Bette Davis and Joan Crawford sending themselves up rotten. Davis' song and dance routine dressed up as a little girl is one of the most disturbing thing you're ever likely to see!

Another John Ford/John Wayne classic, backed up by a superb supporting cast including James Stewart and the excellent Lee Marvin.

A lot of films that are considered "classic" are viewed because you feel you ought to rather than because you want to, and the result can be disappointment. The Maltese Falcon is an all-time classic that not only deserves to be seen, but demands it. Bogart's cynical anti-hero was far from the square-jawed do-gooder that was the staple of the crime story of the time, and Huston's own adaptation of Hammet's novel has barbed dialogue zinging off every character like a hail of ricocheting bullets. Some examples of this type of film can be too convoluted for their own good, but the comparatively straightforward plot of The Maltese Falcon makes it the perfect entry point for anyone interested in Film Noir, and what you'll find is a wealth of taut, witty dialogue, timeless characters and one of the best detective movies ever made that arguably was the starting point for an entire genre. And to think... this was John Huston's first film! Remarkable.

Brilliant tale of a sheltered woman who falls for rakish Carey Grant but gradually, mounting circumstantial evidence leads her to fear for her life. Grant shows he is capable of far more than his usual light comic charm, and Hitchcock's deft direction portrays a palpable sense of forboding and menace. A glass of milk has never been more terrifying!

The prim sister of a missionary, who is killed when the German army come to their small corner of Africa, convinces a pragmatic boat's captain to help her sink the German's nearby destroyer. The story is a simple one, but this film is all about the c...(read more)haracters, who are wonderfully written and perfectly played by two of the very best actors who ever graced the silver screen. Hepburn and Bogart bring a tangible sense of warmth and affection as their feelings grow for each other, Bogie displaying his rarely seen but keen sense for comedy. The visual effects have obviously dated rather badly, but it has more depth and romance than a hundred Hugh Grant or Andie McDowell films. Another classic from John Huston.

Based on a story by Akira Kurosawa, starring Yul Brinner, Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn and Eli Wallach, directed by John (The Gunfight At The OK Corral/The Great Escape) Sturges and accompanied by one of the best musical scores ever written, and you have the ingredients for possibly the perfect old school western. Poor old Brad Dexter didn't stand much of a chance up against an ensemble cast of this quality, but he makes a decent fist of a character who is essentially an amalgam of two characters from Seven Samurai, which makes way for Vaughn's gunslinger who has lost his nerve and slots seamlessly into the action. It does take a more popular culture slant on the original's more arthouse sensibilities, but it works perfectly. Brinner and McQueen make a brilliant double act and it even adds a more upbeat ending without failing to retain the spirit of the source material. One of the very few examples of a remake that is almost as worthwhile as the original.

Private eye Philip Marlowe is hired to investigate the blackmail of a young heiress but when the corpses start to pile up, he realises that the case has more than meets the eye. I love Film Noir, and Bogart for me is the best of its leading men. Bogart and Bacall have one of the greatest screen partnerships and Chandler was one of the best exponents of the art of the detective story. The plot has more twists and turns than a sidewinder that's swallowed a corkscrew, it involves a femme fatale who could melt a polar ice cap and dialogue that's more hard boiled than beelzebub's breakfast egg. It just doesn't get any better than this. The greatest Noir ever made.

When the sheriff of a corrupt frontier town is murdered and replaced with the town drunk, the man calls on the services of the son of a legendary law man, only to find that he is a pacifist. James Stewart is at his very best for this, one of his defining roles. His easy going charm and integrity are a perfect foil for Marlene Dietrich's feisty music hall girl (so brilliantly parodied by Madeline Kahn in Blazing Saddles) and they have fantastic chemistry together; the cat-fight scene is pure comedy gold. Essentially a story about standing by your principles no matter what the provocation, all the characters are impossible to dislike, with some great comic relief provided by a quality supporting cast. Consistently funny with a timeless story of a hero who refuses to resort to violence in the face of adversity, this is one of my all time favourites and a true classic from the golden age.

"The man with no name" returns in this sequel to A Fistful of dollars in which he forms an uneasy alliance with another bounty hunter to kill the head of an outlaw gang while they hatch a scheme to rob the most heavily guarded bank in the territory. For A Few Dollars More is not considered the best of the series by many, but I personally prefer it to the (damn good) original at least. It feels far more like a true Leone film, is better paced and boasts not one but three commanding presences in the form of Clint, Lee Van Cleef's steely eyed and clinical assassin, and Gian Maria Volonte's sinister bandit. The interplay between the three is fantastic and there are many classic Leone moments including his trademark framing of weathered, characterful faces against epic landscapes. There is more depth to the story as the heist and undercover elements involve layers of deceit and betrayal leading to an extremely atmospheric finale. Add to that Ennio Morricone's score which is once again wonderfully memorable and you have all the ingredients for an all time classic western.

Fantastic interpretation by one of the most inventive directors around. Johnny Depp is superb as always and it revives the socialist allegory that was missing from the original version.

Slobbish bachelor Walter Matthau is forced to set up house with prim cleanliness obsessive Jack Lemmon in a classic comedy of manners featuring one of the all time great comic double acts.

I knew nothing about Napoleon Dynamite before i saw it, but it had me crying with laughter throughout! I have no idea why a guy dragging an action figure on a piece of string from the back of a bus is funny. It just IS!

Magical fairytale that bears all the hallmarks of Tim Burton's best work. Visually inventive, witty and moving.

The original story of the now ubiquitous franchise was an abject lesson in how to create a feelgood summer hit. It has no pretensions to being high art; just a hugely entertaining romp that ticks all the right boxes. Spectacular set pieces, great effects, likeable characters and a well written script that never patronizes the audience. But we all know what REALLY made this film, and that's Johnny Depp's hilariously eccentric performance; he literally OWNS this film. We all love an anti-hero at the best of times, but what Depp brings to the film is a genuine sense of FUN. Something that's missing all too often from a studio system used to grinding out soulless formulaic blockbusters that completely lack the kind of magic that makes a film special. The final result here is a film that successfully lives up to the traditions of the classic Hollywood swashbuckler from Fairbanks jr and Errol Flynn right through to Raiders Of The Lost Ark. One of the most enjoyable family films you are ever likely to see.

THAT car chase, THAT soundtrack and Steve McQueen.

Playful heiress Tippi Hedren pursues handsome lawyer Rod Taylor to the sleepy coastal village of Bodega Bay only to become besieged by flocks of killer birds. This film is another of Hitchcock's most influential and its formula pretty much became the blueprint for all disaster/creature features that followed. The premise is of course ridiculous, but this film is more of a showcase for directorial expertise. It begins with the usual soapy set up as we get to know the main characters, and it seems more a breezy romance with some nice snappy dialogue and likable characters. Hitchcock then builds the tension in his inimitable style, as waves of attackers slowly appear, subside and reappear while the increasingly paranoid victims wait for the next onslaught holed up in an isolated house; Night Of The Living Dead in particular owes more than a little debt to Hitch on this score. Tippi Hedren is one of those leading ladies that he obviously chose for looks rather than talent, but her imperfections are shored up by a solid turn by Taylor and some strong support by Suzanne Pleshette and Jessica Tandy. The whole idea of killer budgies is of course the film's main weakness because birds just aren't particularly scary, and a rather anti-climactic ending certainly doesn't help. But taken as a collection of great moments and memorable scenes, it more than does its job.

Legendary outlaws Butch and Sundance rob one too many trains and an elite force of lawmen force them to relocate to Bolivia. Yet another of Hollywood's romantic reinterpretations of history featuring outlaws who are lovable rogues who don't want to hurt anyone, George Roy Hill's classic western actually features little in the way of gunplay (although the final shoot out is well worth waiting for). The core of the film is Butch and Sundance's enduring friendship and as such it concentrates far more on warmth and humour than bullets and blood; in fact you have to wait til near the end before a single shot is fired. Often when two major stars are paired up, ego prevails and one-upmanship can ruin any potential on-screen chemistry, but once in a while two stars can strike up chemistry that is pure cinematic gold. This is the case with Newman and Redford (a partnership obviously and consciously aped by Clooney and Pitt in the Ocean's films), and its a shame they didn't make more films together. The dialogue is always witty and fun, and the characters are all very endearing; even the romance with Katharine Ross is refreshingly schmaltz-free and understated, and is all the more charming for it. The only dark cloud on the horizon are the cornball musical interludes which some may find some kitsch enjoyment in, but I personally found them dated and unnecessary. This flaw is minor compared to the hugely entertaining whole and it features one of the best endings ever filmed.

A classic of cinema from the master of the epic, David Lean. A love story that spans history and politics, brilliantly acted with beautiful cinematography. Even this cynical old git couldn't help but be captivated.

Peter Parker begins to find the life of a super hero a rather thankless task, and increasingly stressed by his inability to balance work, school and fighting crime he decides to quit being Spiderman. Unfortunately he does not count on a scientific experiment going wrong that turns an altruistic genius into a mechanically enhanced megalomaniac! Spiderman builds on a fine original and delivers all it promised, and more. The action sequences are brilliantly done, and even more importantly, it intelligently fleshes out the characters with humour and depth. The way Peter has to confront the pros and cons of superherodom is really cleverly done, and it injects even more clever humour; in particular the scenes when Peter accidentally dyes his smalls with his spider suit and taking a lift when his powers fail him. It's witty, funny and exciting, and everything a superhero film should be. And once more I felt sorry for anyone having to share a scene with the brilliant J. K. Simmons! One of the best hero movies out there.

Fascinating topic as the worlds of science and religion collide over the teaching of the theory of evolution in american schools. Very stagey but thought provoking without being judgemental, and Gene Kelly provides able support as a cynical reporter.

One of Steven Spielberg's first attempts at a "grown-up" movie, this is a creditable adaptation of JG Ballards autobiographical book about his wartime experiences as a boy.

Great cast in a bizarre war-cum-heist movie about a group of hustlers breaking into a nazi bank behind enemy lines. Donald Sutherland's anachronistic hippy tank commander is particularly memorable

A remarkable film about a remarkable man. And proof that the academy can (very occasionally) get it right. One of the best biopics ever made.

John Huston directing Sean Connery AND Michael Caine. You cannot go wrong. Glorious adaptation of a Rudyard Kipling story full of derring do, period detail and good old fashioned boys own adventure. Love it.

Essentially a vehicle for Dustin Hoffman, this is the changing face of the west told from the point of view of an old man reminiscing about his life (although you're never quite sure how much of this tall tale is actually true!). Part comedy, part comment on the treatment of native americans, it's always entertaining and Hoffman is great as a man caught between two conflicting worlds.

Daft homage to 50s B-movies is a perfect mix of comedy, action and shocks. Kevin Bacon and Fred Ward are hilarious as the bickering rednecks who team up with a married pair of gun-totin' survivalists to battle giant underground worms. "Sure, everyone knows about 'em, Earl! We just never told you!"

Classic tale of suspense and paranoia featuring one of Gene Hackman's finest performances as an obsessive surveillance expert becoming embroiled in the case he is working on. Brilliantly written and acted, and strikingly stark direction by Coppola (the final shot of Hackman sitting alone in his ravaged appartment is particularly memorable.)

Two upper class intellectuals plan the "perfect" murder of an old school friend for the sheer thrill of it and hold a dinner party for his friends and family with the corpse hidden within the room. Rope is most famous for its "one shot" conceit as the story takes place entirely within the same room, Hitchcock concealing (albeit somewhat clumsily) the cuts between reels. I feel however that is the least interesting aspect of the film, as the ideas expressed within, the sharp dialogue and Hitch's usual ability to crank up the tension are the real reason why it works. Hitchcock plays with the audience, placing us in the room with characters, they and their conversations even being demoted to off-screen from time to time as he constantly reminds us of the foul deed that could be discovered at any moment. When recreating the murder, he uses nothing as crude as flashbacks; he entices the audience to relive it through vicarious imagination. The story is told entirely through the verbal sparring of the party guests, Jimmy Stewart being the perfect casting choice as their old schoolmaster who begins to suspect something is afoot, his image as Capra's morally upstanding man of the people is given a different spin within this macabre situation. Here, he is the cynical misanthropist shown the logical conclusion of his contempt for "inferior" humanity and the concluding speech when faced with his grim discovery is electrifying. Hitchcock made a few anti-Nazi propaganda pieces for the war effort, and this contempt for intellectual arrogance and self-superiority and its inferred fascistic overtones echoes the sentiment of those films. This strong moral message and taut story telling make for a gripping thriller that although a little stagy, still packs a thought provoking punch.

Subtlety is most definitely not the order of the day in Luc Besson's high camp space opera, and it's scattershot approach does mean there are a few things about it I don't appreciate. The soundtrack is occasionally horrendous, Jean Paul Gaultier's insistence (as usual) on dressing half the male cast up as the off Broadway chapter of the Erasure fan club, and most of all, Chris Tucker who is so irritating it makes my teeth hurt. What makes the film work is it's sense of humour which permeates the entire proceedings and it's breakneck pace that means it never dwells too long on any particular aspect of the story. There are some great action sequences, cool Gilliam-esque production design, and loads of funny moments, mostly supplied by Gary Oldman who steals every scene he is in as a kind of psychotic southern sci fi version of Terry-Thomas. Silly, tongue in cheek and hugely entertaining.

Tim Burton's sequel to his "nice try but no cigar" re-invention of Batman is a big improvement in every department. The production design is fantastic, it has some spectacular, slam bang set-pieces (particularly the explosive finale) and is tinged throughout with his macabre sense of humour. It does have its faults; the dialogue is a little forced, its pitch is a little inconsistent and I never thought that Keaton was the right man for the job. Inevitably the film is stolen out from under him by the trio of villains; Walken has a lot of fun as the malevolent Nosferatu-monickered tycoon, DeVito has most of the best lines and best of all is Michelle Pfeiffer as the down trodden secretary who takes her power back as the sexiest screen Catwoman. Those used to Nolan's dourly realistic interpretations may find this all a little camp, but it's a lot of fun and is the best of the original Batman films by quite a long way.

Steiger and Poitiers scenes together crackle with tension in an intelligent thriller dealing with racial bigotry in the deep south. The best line in the film "They call me Mr. Tibbs!" was the particularly unsubtle title of an inferior and unnecessary sequel.

One of the best translations from small to big screen, offering an intelligent story rather than the usual dumb explosion/car chase cocktail. Better than Bond, better than the Bourne Identity.

Intelligent low-key character driven thriller from Clint Eastwood, unfortunately overshadowed by his previous film, the magnificent Unforgiven. Don't be put off by the presence of Costner; even he turns in a decent performance when his egoism and self-indulgence is reigned in by a skilled director. Well worth a look.

Extremely powerful historical drama about the ordeal undergone by King George III when he was suffering from porphyria, a disease so painful it can be mistaken for insanity. Nigel Hawthorne's performance as the ailing monarch is absolutely astonishing and deeply harrowing.

Like Arnie's terminator, this was the perfect part for his acting talents. Beautifully executed manipulative schmaltz!

I've never thought Tom Cruise was a good enough actor to carry a movie by himself, but together with a quality script and one of the best directors around at the top of his game, the results are very impressive indeed

Zero Mostel and Gene Wilder are the perfect double act. The opening of "Springtime For Hitler" is a moment of sheer comedy genius!

Much more in the spirit of the original series than the visually spectacular but slow first film. Huge fun and easily best of the big screen outings by Captain Kirk and co.

Wonderful swashbuckler deconstructing the musketeer story with plenty of period detail, wit and slapstick humour, including a great comic turn by Spike Milligan and Oliver Reed at his very best

Excellent sequel to the slapstick original with an all star cast and much darker tone than the original. If you like Oliver Reed in Gladiator, you'll love him in this.

Unsettling and comic by turns, a post feminist social satire in which egotistical small town men are trading their wives individuality and free will for baking skills and an increased bra cup size. As relevant now as it was then.

The combination of hi-energy martial arts and slapstick humour in this movie reminded me of a live action loony tunes cartioon! Great fun!

Braveheart is the (exceedingly tall) story of William Wallace, a man who united the common people of Scotland to rise up against their English oppressors in the 13th century. Of course the historical "facts" vary between the dubious and the ludicrous, particularly those involving the princess of Wales, but I for one am not complaining about having to look at Sophie Marceau. It's easy to pick holes in it's accuracy, but if it were true to real events it probably would be a hell of a lot duller. This film is about rooting for the underdog; cheering on the good guys and booing the bad guys with some fantastically bloody action along the way. Gibson's accent is more Crocodile than Dundee, but he plays the part with just the right mix of charm and humour and has a great supporting cast to back him up, Patrick McGoohan being the best of the bunch as the deliciously malevolent Edward Longshanks (Boo! Hiss!) Often ridiculous, but a hugely entertaining old school swashbuckler. And where else can you see a story where a dirty hankie changes history...?!

Although slightly lacking in plot, this movie positively reeks of Tim Burton. Absolutely gorgeous to look at, eccentric and a wonderfully Hammer-horror camp performance by Depp heads a superb supporting cast. Beautiful, funny and exciting.

Jack Nicholson stars as J.J. Gittes, a private detective hired to investigate an alleged marital indiscretion but uncovers more than he bargained for including deceit, corruption and murder. Right from the self consciously retro titles, Polanski sets out his stall; to recreate the classic noirs of the 40s and 50s, and a damn fine job he does too. Even to the point of casting legendary director John "The Maltese Falcon" Huston. Nicholson is at the height of his powers as the world weary ex detective and is complimented perfectly by Faye Dunaway with a possibly career best performance as the glamorous yet vulnerable femme fatale. The intelligent script constantly wrong foots you, playing with your assumptions and Polanski's direction is suitably hard boiled, shadowing Gittes as he uncovers the grim truth behind these unsavoury events. A fine homage and addition to one of my favourite genres and essential viewing for fans of crime drama.

Michael Moore is one of those film-makers that is either loved or loathed (and if you are a republican, it almost certainly the latter!) I must admit, some of his tactics are a little gimmicky but we must remember that he is facing off against the largest propaganda machine in the world. I admire his willingness to fearlessly tread on the toes of the capitalist elite, and this tirade against the hypocrisy of the Bush administration is a prime example. As for those who accuse him of being unpatriotic, tell me this. Which is more unpatriotic? A man who exercises his right to free speech to criticize the corruption within his country's administration, or an administration who puts the wants of it's fat cat cronies above the rights and liberties of the very people they are sworn to serve, and above the lives of not only innocent people who live half a world away, but the lives of the men and women who have chosen to defend those rights and liberties on the front line? You may or may not agree with his methods, but these are important points that deserve to see the light of day.

I love Michael Moore for his fearless willingness to take on the US establishment, the largest propaganda machine in the world. Informative and thought provoking

I expected this film to be yet another sorry clone of The Matrix, but i was pleasantly surprised. The action sequences are very reminiscent (and similarly well done) but the plot involving a Big Brotheresque society of emotionally subdued drones reminded me a little of a Fahrenheit 451 and 1984. Imagine Gattaca with guns. Or the Brazil-ian Matrix!

Very funny role reversal comedy from John Landis. One of the best comedies of the 80s. Eddie...what happened?

The relocation of Nick Hornby's novel to the US actually works quite well, and the ever reliable Cusak is supported by a comedy star turn by the hilarious Jack Black

Professional contract killer Martin Blank decides to stop off at his high school reunion while out on a job and rekindles an old flame in the shape of Minnie Driver. Part romantic comedy, part post-Tarantino noir, this is the kind of cinematic hybrid that can sometimes go disastrously wrong (Gigli anyone? Thought not....) but this brilliantly written example is not one of them. The dialogue is witty, snappy and insightful, it has likeable characters played by a great cast headed by John Cusack at his most charming and who shares a real chemistry with his co-star. There are also some great supporting performances by Dan Aykroyd as a rival hitman, Alan Arkin as Blank's unwilling psychiatrist and Joan Cusak as his kind of post-modern old school noir style secretary. Add brisk no nonsense pacing and well handled set pieces and you have a smart and funny black comedy that works on every level.

Tim Burton's affectionate portrait of the producer of some of the worst movies in cinema history. Depp's portrayal of an eccentric and infectious enthusiast is very endearing and Landau is magnificent as an ageing Bela Lugosi struggling with a drug habit.

Religious mythology always makes for good horror, and this comic-book style gothic fantasy thoroughly entertains. Keanu Reeves revisits Neo as the films chainsmoking anti-hero, and it features one of the coolest screen interpretations of the devil I've seen!

The flaws in this film are obvious...it's essentially two movies stitched together. The first half is an enjoyable typically Tarantino crime drama, the second a high camp tongue in cheek splatter flick. But they both work!

Classic dramatization of the Watergate scandal that's factually fascinating, and the double act of Hoffman and Redford exude considerable charm and charisma.

Aging flight attendant Pam Grier is caught between the police and ruthless gun runner Samuel L. Jackson and enlists the help of bail bondsman Robert Forster to scam half a million dollars in the process. Jackie Brown was met with a level of disappointment when it was released; yes it had the cool ensemble cast, excellent retro soundtrack and prolific use of the "N" word, but where were the violence, idiosyncratic characters and quirky comic dialogue we were all expecting? But the fact is, Jackie Brown is by far the most mature film Tarantino has made so far. The dialogue is more naturalistic, the characters believable and well written, and the statuesque queen of blaxploitation, Pam Grier proves that the years have in no way diminished her charisma and sex appeal. She gives a sensitive, layered performance of a woman who is full of confidence on the surface, masking an underlying fear of a wasted life; her relationship with Forster is full of warmth and sincerity rather than the contrived romantic bullshit you find in most Hollywood thrillers. Jackson is also fantastic as the cold as ice killer, and they spark off each other brilliantly. This film is easily Tarantino's most low key and mainstream, but this most definitely is not a bad thing and deserves to be revisited by anyone who felt that disappointment the first time around.

An odd concoction of comedy, war and heist movie, it is beautifully shot, and bravely tackles unusual subject matter. The ending is somewhat unsatisfying however

This film is and incredibly powerful and difficult experience. Voight and Hoffman are superb but its so unrelentingly depressing it can hardly be called an "enjoyable" experience! A film everyone must see, if only once.

Slated by critics at the time, if Pat Garrett And Billy The Kid was Peckinpah's tale of the death of the west, this is it's "resurrection". QT and particularly Robert Rodriguez has obviously taken a lot of cues from it, and it deserves it's cult status. My favourite Peckinpah film.

A fantastic gothic horror fantasy that slipped under the radar mainly because of it's straight to video release. Christopher Walken plays an extremely malevolent Angel Gabriel conducting a civil war in heaven, and Viggo Mortensen plays a very memorable Lucifer. Iit has clearly influenced many other movies, notably Constantine and Dogma

Mad Max 2 is one of that rarest of breeds; a sequel that actually surpasses the original. Like Desperado and Evil Dead 2, it is a big budget reinvention of the previous film rather than a true sequel per se. Mad Max was a powerful if flawed film that never quite lived up to the promise of its explosive action sequences. Once again, the film opens with an exhilarating hi-octane chase as Gibson's post apocalyptic man with no name stumbles upon an oasis of civilization under siege from a group of road predators. The film almost resembles a zombie film, except in this future where gasoline and ammunition are worth more than human life, the human race are being preyed upon not by undead monsters, but other human beings. The Australian outback makes a beautiful but believably desolate future wasteland and Gibson revisiting the part that made him a star has never equalled the grit and charisma of his performance here. The peripheral characters don't get much of a look in and the dialogue is suitably minimal, setting the stage for the true star of the show; the action. The brilliant production design which creates a similarly believable patchwork of scavenged technology became the blueprint for post apocalyptic science fiction; every sci fi film that followed copied it. The fantastic stunt and road level camera work makes for some visceral chase sequences in which vehicles and their occupants are smashed, crushed and sent pirouetting through the air with a sense of real time physics; there are no glossy Hollywood style slow motion pyrotechnics here; just an orgy of automotive destruction! A worthy addition to the tradition of Yojimbo and A Fist Full Of Dollars with a science fiction spin.

This Oscar nominated script was actually offered to both Truffaut and Godard, but even they could not have done a better job. Warren Beatty's awkward and impotent Clyde who sees himself as some kind of self styled Robin Hood is perfectly matched with Faye Dunaway's Bonnie, who sees him as a way out of her dreary small town existence. Their relationship is actually quite touching, and there is plenty of warmth and humour as they cut a swathe through a wonderfully reconstructed depression era America, making their inevitably brutal demise all the more shocking and powerful. One of the best crime dramas of the sixties, and the template for the likes of True Romance and Natural Born Killers. And Faye is surely a better cure for impotence than Viagra...

In an unprecedented move, Hollywood actually gives an asian director a decent script and A-list stars to work with. And the result shows why this never happens. Hollywood equivalents pale in comparison...

An unrelentingly grim and uncompromising prison escape story based on true events sees Steve McQueen shed his glamorous image and portray an intense obsessive determined to escape from Devil's Island if it kills him. Both he and Hoffman as his weak intellectual sidekick form the core of the film, and they are both magnificent.

Michael Collins was a pivotal figure in Irish history, and this is a brave attempt to represent a story rarely attempted in mass media by Neil Jordan. Collins was the original "terrorist", and practically invented modern warfare employing guerilla tactics and counter intelligence to fight the British Empire to a standstill, a force he had no chance against using conventional means. This resulted in the treaty of 1922 which saw the country divided for the next 80 years. Liam Neeson is excellent as the pragmatic and larger than life man of the people, and although the film inevitably is rather rose tinted in it's representation of the man (as all of these kinds of biopics are) Jordan's brisk no-nonsense style is never pompous or preachy. The subject matter means that there is a lot more action than most political dramas, in fact it has more in common with The Godfather than Gandhi for the first half of the film. Even the romance with Julia Roberts (who manages a very creditable attempt at an Irish accent) is nicely down played and unsentimental. Portraying yet more of the shameful acts perpetrated by the British government in it's history it is just as informative as it is entertaining, especially to those of an Irish heritage such as myself.

Very funny homage to Night Of The Living Dead, made more so by the fact it is so dated in a way that only happens to films made in the 80s!

Very reminiscent of High Plains Drifter and lifting elements of Shane, another winner from the ever reliable Mr. Eastwood.

Brilliant multi-layered, multi-cultural mystery-cum western spanning four decades from John Sayles. Intelligent, dark and expertly performed.

One of the seminal films of the 70s, and a brilliantly crafted thriller complete with a superior cast, script and director. The opening scene is a classic.

Probably one of Jarmusch's most accessible films, but still an acquired taste. Quirky, funny and it has a fantastic soundtrack

Entertaining british comedy horror from the old school with some great one-liners. Reminiscent of Predator, with more wit.

Restraint is the order of the day in one of my favourite Cronenberg films, and the best adaptation of a Steven King novel. Christopher Walken gives a subdued and effective performance as a car crash victim haunted by images of future events

Intellectual thriller with a great cast and extremely realistic, gritty feel. Slightly lacking in plot compared with the complexities of Heat but excellent nonetheless

Carpenter's career was in decline by now, but this still stands up as a great piece of psychological horror. Extremely surreal, and preferring to continually blur the line between fact and fiction the you never feel your perceptions are quite on solid ground. It also has one of my very favourite endings of any movie!

A ruthless gang with colour coded pseudonyms (sound familiar?!) and automatic weapons hijack a New York subway train in this hugely entertaining heist movie. Walter Matthau is at his sardonic best as the transport cop in charge of the situation, with Robert Shaw as the coldblooded mercenary heading the hijackers, including Hector Elizondo as the obligatory psychotic loose cannon ("Why do think they threw him out of the mafia?"!) It concentrates more on the dialogue and characters to build tension than fireworks, including some great behind the scenes banter as the mix of trademark New Yorker foul-mouthed ill temper, pragmatism and sarcasm come into effect when dealing with the situation, all set to a cool Schifrin-esque soundtrack. One of the best thrillers of the 70s.

I quite enjoyed this post Tarantino heist flick, full of the obligatory off -beat characters and grim violence. But for me it was Treat Williams who stands out in a particularly daft and macabre turn as Critical Bill.

One of the great hard-boiled cop movies of the seventies. Hackman is excellent and the car/A-train chase is up there with Bullitt's.

"Yeah, but I shoot with this hand"
"It's twue, it's twue!"
"I'd say you've had enough!"
"Where's the white women at...?"
The movie Mel Brooks built his (frankly undeserved) reputation upon. Cleavon Little is brilliant as Bart, a sheriff meant to be "so offensive" to the citizens of Rock Ridge, they'll all leave in a plot to steal their land. I know the entire script to this film off by heart, and it's still hilarious every time I see it. The "plot" gets a little aimless towards the end, but it's so full of laugh out loud lines and moments it doesn't matter. Silly, unbelievably politically incorrect and quite simply genius.

Unrelentingly grim prison movie which sees Alan Parker once again masterfully pressing all the right buttons. True, many of the characters are stereotypes, and it's somewhat casually racist, but it's a case of the end justifying the means.

I really enjoyed this! It's a very derivative creature feature but with a great sense of humour. Treat Williams is especially good, giving a wise-cracking action man performance very much in the vein of Bruce Campbell in the Evil Dead sequels. Funny and exciting.

When an uncompromising Yakuza leaves Japan to prevent the ignition of a gang war, he joins his brother, a small time drug dealer in America and shocks both his friends and enemies with his ruthless brutality. But when their fledgling organization reaches the attention of the mafia, the cycle of violence soon spirals out of control. Kiteshi Kitano's culture clash gangster movie has the unlikely friendship between his stone-faced and laconic Yakuza and wisecracking petty hustler Omar Epps at it's core, punctuated by explosive bursts of visceral action. It contains his trademark humour, "gangsters at play" and simple yet beautiful direction that relies on stoic imagery and composition rather than the endless dolly shots and pointless colour filters that seem to plague modern cinema. My one complaint is that some of the characters were under-used, and had had their brains splattered all over the wall before I'd even remembered their names. Not his best, but the familiar US settings and english dialogue makes this the perfect entry point for anyone unfamiliar with Takeshi's work.

An liberal conscript Russian soldier in Afghanistan suffers at the hands of an obsessive tyrannical commander. Later he is abandoned to the mercies of the pursuing Afghan rebels for refusing to execute a Muslim crewmate and learns to understand his erstwhile enemies, as they join forces in a quest for vengeance. The Soviet occupation of Afghanistan is a rarely discussed topic in movies, and their campaign is often referred to as the "Russian Vietnam"; in fact the subject matter of a young crew lost in hostile territory combined with it's dreamlike atmosphere actually reminded me a little of a dusty Apocalypse Now. It's obvious where Reynolds' sympathies lie from the outset, as a small rural village is destroyed by Russian bombs and tanks, their well poisoned and women armed with rocks repelled with poison gas; this makes it ironic that the Russian crew are played by American actors which serves to remind us that it's actually THEIR soldiers who are subjugating the Afghans at the moment. The intelligent script also throws up some nice, uncontrived feeling moral retribution in the fact that Patric's character's attempts to learn about and understand his "enemies" proves to be his salvation, just as Dzundza's brutal and inhumane methods prove to be his undoing. Cleverly written, well played and some interesting subject matter make this an unusual and thoughtful war film.

Unrelentingly bleak and nihilistic, this is a film that makes Reservoir Dogs look like Lassie Come Home. I, therefore, love it! Caine at his best

Alternately bleak and hilarious, a brilliant character study and social commentary. One of Jack Nicholson's defining roles.

An infamous mercenary is coerced into rescuing the president from a Manhattan island that has been turned into a lawless prison colony of the near future. Because of this cult action sci-fi from John Carpenter, Snake Plissken became one of the iconic action heroes of the 1980s; showing nothing but contempt for authority and hissing his lines like Dirty Harry with PMS, Kurt Russell becomes the embodiment of rebellious 80s machismo. To be honest, Carpenter's static camera work never lent itself particularly well to action, but a ridiculous yet insanely cool premise, Russell's charisma and an inspired supporting cast more than make up for the rather sluggish set pieces. The post apocalyptic representation of New York is brilliantly recreated, the whole of Manhattan eerily shrouded in darkness, made all the more haunting by the presence of the desolate twin towers looming overhead. The rest of the cast are also great fun, including Donald Pleasance as the weasely president, blaxploitation star Isaac Hayes as the uber-mack daddy Duke of New York and Harry Dean Stanton as Snake's spineless and double-crossing "partner". It has dated, but in a nostalgic "kitsch" kind of way and it's still a bit of a B-movie classic. A-number one!

Boogie Nights charts the rise and fall of a fresh-faced young bus boy with a "gift" who is discovered by an adult film maker in the 70s. P. T. Anderson's comic valentine to 70s porn obviously has a similar format to the likes of Goodfellas, but its much lighter tone leaves room for a lot of laughs as well as the inevitable drug-fuelled downward spiral to degradation. Initially, it's all outrageous fashions, parties, pretty girls and fast cars, and the naivety of these times is brought through really well; the extended family is like an "adult" Brady Bunch, and Wahlberg's innocent charm is infectious as they are little more than children playing at dress-up. While screwing, of course. There is also a lot of Spinal Tap in the mock documentary and Dirk's hilarious attempt at pop stardom, and Anderson has fun recreating the amusingly shoddy production values of 70s porn (think the video to "Sabotage" with innuendo!) . There are deeper themes in amongst the excess of course; the impact of technology on all their lives as well as the inherent dysfunctionality of relationships based in an environment where physical intimacy is so prevalent it loses all meaning; Julianne Moore's dual role as mother/lover is particularly ambiguous. The fun and games contrast with the particularly grim violence of their lowest ebb when their masks begin to slip, but your affection for this gang of emotional misfits makes for a nicely ironic upbeat ending. It obviously owes a lot to Scorsese and Tarantino, but it is a very worthy addition to their tradition.

Utterly bizarre but likeable nonsense. I wouldn't try and read too much into it though...

In his heyday, John Carpenter was the master of cinematic suspense, and this story of urban violence was one of his best. A deserted police station is laid siege to by a fanatical gang out for blood when one of their number is killed by a man hysterical with grief when they casually murder his young daughter. In fact there isn't much more to the plot than that; this film is all about attitude and atmosphere. There are loads of great one liners, particularly from Darwin Joston as the laconic anti-hero who joins forces with his captors, and the characters are all very memorable. Laurie Zimmer, despite the virtually complete absence of romance in the situation has a sultry charisma that reminded me of a young Lauren Bacall, and the plot has a very strong message; namely that violence begets violence. It's also very obvious that Carpenter was not the biggest fan of the LAPD when you consider that the whole incident is sparked by a combination of the fact that six gang members are callously gunned down in cold blood by faceless police officers, and the fact that the grief stricken father was only in that certain place at that time because he had little or no trust in the police. A fine example of economical and suspenseful storytelling with no unnecessarily overblown set pieces or frills that is far better than the (admittedly decent) remake.

Gripping courtroom drama based on a true story of mistreatment of prisoners that led to the closure of Alcatraz. Kevin Bacon is magnificent as the broken shell of a man caught in the middle of events much larger than himself.

Brainless but fun actioner with a superior cast. Who'd have thought Ted Theodore Logan could be an action star?! Oh, and the sequel is one of the worst movies ever made.

One of a rash of Tarantino copycats that appeared after the success of Reservoir Dogs, but one of the best. A great quirky crime drama cum road movie.

The ultimate indie movie. Christina Ricci and Vincent Gallo make the best off-beat couple this side of Slater and Arquette and it's a great study of obsession and redemption. Pity he's such a cock off-screen...

Yet another inventive fantasy from Terry Gilliam, 12 Monkeys is the story of a prisoner in the future who volunteers to go back in time and gather information on a plague that wiped out the human race originating in modern day Philadelphia. Although Brad Pitt's interpretation of insanity is a little too affected, Bruce Willis gives easily one of his best performances as the man out of time, tortured by the burden of the knowledge of the deaths of 5 billion people he seems completely unable to prevent and fearing for his sanity. Madeleine Stowe displays her usual appealing combination of beauty and vulnerability and the future scenes show off some more excellent production design born of Gilliam's fantastic imagination. The story penned by one of the co-writers of Blade Runner is an intriguing time paradox based on short film La Jetee and although it lacks much of the ex-Python's trademark satirical humour, it still ranks amongst his best.

Another one for the ladies, featuring a pretty, long-haired Brandon Lee wreaking bloody vengeance clad in black leather and eyeliner. There are some great moments (particularly visually) and Wincott is a wonderfully amoral villain, but there are also moments of cringeworthy cheese, eg when he's playing guitar (badly) on a rooftop. Flawed but fun.

Influential parody of teen flicks and biting satire on societys obsession with attractiveness and popularity. Very dark, very funny.

Anne Rice's own adaptation of her novel is quite literary which tempers the melodrama to give it quite a theatrical feel, added to by a good supporting cast; Tom Cruise actually gives one of his more characterful performances and is clearly enjoying himself as the rakish Lestat. It's obviously mainly about the eye candy and gothic romanticism for the benefit of the ladies, but there is also some great period detail and interesting themes running through it; particularly the eternal child and links between voyeurism and violence. A VERY young Kirsten Dunst gives a mature performance as Louie's unwilling child/love although I felt Banderas' character was underused. It's brooding, atmospheric and has a nice line in black but playful humour, and is far superior to the vast majority of it's many, many copycats.

A bleak and affecting study of violence and it's consequences that struck too powerful a chord with a certain demographic...after the film spawned several copycat cases of real-life "ultra-violence", Kubrick himself censored it for 25 years. This gave it a kind of underground chic and cult following, and a certain mysticism that extends beyond the quality of the actual film itself. Perhaps not the masterpiece many who buy into this mindset believe, but still an extremely powerful piece of work.

An extremely subversive John Carpenter movie involving an unemployed construction worker who finds a pair of sunglasses that reveal subliminal messages built into the media (and money itself:"THIS IS YOUR GOD"!). The action sequences are a little weak, but the concept is brilliant

Pan's Labyrinth was not Guillermo Del Toro's first stab at a story that mixes fantasy with a tale of the Spanish civil war. In the Devil's Backbone, a young boy is abandoned at an orphanage for children whose fathers were killed in the fighting and is haunted by a ghostly apparition that holds the secret of a tragic past event. The thing that stands out about this film is it's haunting atmosphere. There is no running around screaming, no blood and guts, no monsters jumping out at you. Del Toro's visuals are as sumptuous as always, almost resembling a Leone spaghetti western in places, and the visual effects are frankly stunning; the recreation of the ghostly boy is incredibly effective and bears more resemblance to the subtlety of J-horror than gore obsessed Hollywood film makers. Add to this a script that thankfully avoids all the usual horror cliches and expands on the basic concept to include a host of well constructed characters and relationships instead of hysterical stereotypes and you have something that is no conventional horror film by any sense of the word. A beautiful piece of film-making.

Rather dated with some very dodgy effects, this film works because of the strong premise of immortals roaming amongst us through history (a premise the dreadful sequels chose to completely ignore.) In fact it is the historical scenes that are by far the most interesting and the chemistry between Lambert, a scotsman with a french accent(!), and Connery, an egyptian spaniard with a scots accent(!!) is fantastic

A very amusing left field heist movie with plenty of laughs and a very "indie" feel. Fans of QT and Guy Ritchie should definitely check it out.

Archetypal David Lynch, and his masterpiece. Examining his favourite subject matter of the dark underbelly of superficially "normal" middle America, this is as dark and disturbing as it gets. Human beings are far more frightening than any "monster"...

This film could not be more "cult" if it tried! Bizarre, silly and often hilarious. Harry Dean Stanton is a legend! The version with the sanitized bad language is possibly even funnier than the original...

Stylish and funny action film that made Bruce Willis a star. Genre changing in that previously to this, action heroes always tended to be completely in control of the situation, whereas John McClane was in a constant state of desperation and panic!

A very funny genre-spanning horror that finds much humour in lycanthropy and yorkshire rednecks. Even the soundtrack makes me laugh out loud! The sequel was shit though.

Brilliant gynecologists Beverly and Elliot Mantle are identical twins who share everything-even women-when the younger and more sensitive of the two forms an emotional bond with one of their patients that threatens their inter-dependent relationship. David Cronenberg's dark psycho-sexual chiller is lacking his usual gory effects and is a much more subtle and understated affair. The doctors' psychological decay and descent into drug abuse and madness is handled with great sensitivity, never demonising or judgemental, and the seamless direction and visual effects mean that you would never guess that the twins were played by the same actor if you didn't already know. Jeremy Irons turns in not one but two remarkable performances as the troubled twins, subtly giving each individuality through reactions and body language; I personally think it was a crime that Irons did not win the Oscar for best actor, and arguably deserved the best supporting actor Oscar as well. The story builds quite slowly, but pays dividends at it's incredibly powerful and moving climax; surely Cronenberg's best work.

Cockney boxing promoter Jason Statham unfortunately finds himself indebted to a ruthless gangster and has to provide bare knuckle boxer Brad Pitt in recompense. Ritchie's difficult second movie lives up to the potential of Lock, Stock, but it's hardly a massive departure. Providing more of the same laughs and cocknernee gangster hi-jinx, but it doesn't rely so heavily on cheap laughs, and Pitt is fantastic as the indestructible pikey with a hilariously incomprehensible accent! It may not have the glitz and glamour of the Ocean's franchise and subtle it most certainly is not, but it's also one of the most entertaining films I've ever seen. A worthy addition to the British tradition of the comedy caper movie.

A testament to Lynch's skill as a film-maker in that I stayed glued to the screen during the entirety of the film even though I was never entirely sure what was going on...

A disparate collection of strangers are forced together to fight for their lives against indian attack in a classic western from the master of the genre, John Ford.

Essentially an ultra-violent re-working of Badlands, subtlelty never being Tony Scott's strong point. It's a classic formula, full of great Tarantino-isms, from a ghostly Elvis to the best scene in the film between (easily) the best actors, Hopper and Walken. And I defy any heterosexual man to not fall for Patricia Arquette during the length of this film!

Akira Kurosawa's eye for wonderful visuals comes to the fore once again in this stunning adaptation of Macbeth, which lends itself toa relocation to feudal Japan perfectly. I particularly liked the way he merged some wonderfully atmospheric camera techniques with it's still highly theatrical feel. Toshiro Mifune gives an incredibly intense performance as the general destroyed by his ambition, the subdued scenes between he and his manipulative wife are particularly memorable. And what an ending. Unfortunately I can't comment on the dialogue, as this was yet another example of a DVD company's insistence on hiring a translator who can't actually speak English. "The hand of the spider bush is moving to the city" indeed...

One of the great matinee style films starring an unusually upper-class Michael Caine fending off "zulus sir, farzands of 'em!" with a stiff upper lip. The film is never patronizing, and the anti-war message is never forced.

Withnail & I is the tale of a pair of out of work actors in 1969 Camden who decide to get away from it all for a weekend in a country cottage. And that's about it; plot heavy this film is not. It's all about the character of Withnail, played to perfection to a pre-insufferable Richard E. Grant; in fact Grant was a tee-totaler when he made this film, but Bruce Robinson insisted that the leading actors be paralytic during filming, just to make it more authentic! The pair are like a foul-mouthed, drunken version of Laurel & Hardy as they stagger through the ordinary world in much the same way as Raoul Duke and Dr. Gonzo were in Fear & Loathing, except that this film is very, very British. This film is all about the dialogue, which is hilarious, containing some of the funniest swearing you'll ever hear! It is also, like Gilliam's film, making a comment about the times in which they lived; the end of the sixties. Except in Fear & Loathing, Thompson was bemoaning the loss of power and optimism of the American youth movement, and here Withnail is shown as an endearing but childish and cowardly person, constantly avoiding responsibility and life as a whole, through a cocktail of drink and drugs. He is left behind at the end, like the decade, as "I" gets a haircut and a job, and moves on with his life. Some may think that the "screaming homosexual" uncle Monty is a bit of a caricature and figure of fun, but he is in fact the most sensitive and sympathetic character in the film. it may not translate well to foreign audiences, but it will forever be a firm favourite amongst the British post hippy generation and students alike.

Superior action with some nice blackly comic touches. Gibson is strangely believable as a burnt out cop with a death wish, and the buddy partnership with Glover works brilliantly.

A low budget sci fi horror that works because of it's use of suggestion rather than dumb SFX. The premise of the plot does not hold up to scrutiny, but Diesel's amoral killer is much more interesting than the usual white hatted movie hero, and it looks fantastic.

Classic martial arts fantasy that never fails to entertain for a single second

When a contract killer accidentally blinds a nightclub singer, he takes on one last job in order to pay for an operation to restore her sight but his employer is less than willing to let him retire. John Woo's international breakthrough film, The Killer explores his favourite subjects of honour, loyalty, and revenge. It's pure XY pleasing male bonding and excessive gunplay and to be honest, it's showing its age a little. His penchant for heavy handed sentiment is clearly in evidence (although it's nowhere near as cloying as it was in A Better Tomorrow) and the dialogue is clumsy and repetitive; in fact when Danny Lee is describing Chow for a composite picture he sounds like he's in love! But let's face it, this film is all about the action and Woo's trademark "heroic bloodshed" is as thrilling as always, the slow motion acrobatics, duffel bags full of firearms and exploding masonry will be familiar to anyone who has seen everything from The Matrix and beyond. Hardly the height of subtlety and sophistication, but it's still a stylish and exciting throwback to the days of 80s machismo.

Visceral science fiction laced with satire and dark humour. Marred only by the increasingly silly and schmaltzy sequels that managed to completely miss the point.

Irresistible and charming fantasy based on the wonderful concept of being faced with an insight into how the world would be if you'd never been born. Heartwarming and life affirming without the usual saccharine-coated schmaltz.

Not quite as good as Glorious, but he's still head and shoulders above every other stand up working today.

A longshoreman and ex-boxer has a crisis of conscience when the gangsters who control the union murder a fellow dock worker. On The Waterfront is one of those films that is almost famous for being famous. Nearly everyone can recite Brando's most quoted line, but this infamy means its reputation precedes it which can obscure just how good a film is. And this is not just a good film, it's an incredible one. Brando's powerhouse performance has also overshadowed those of the other members of the cast, but Lee J. Cobb, Rod Steiger and Eva Marie Saint are all worth far more than just an honourable mention, and the classic "I coulda been a contender"scene is just one amongst many memorable and powerful moments; Karl Malden's speech that provokes Terry's change of heart, the discovery of his brother, the confession to Edie in the boatyard...the list goes on. Examinig many themes in a multi-layered story of corruption, redemption and one man standing up for what is right, On The Waterfront is one of the true greats of American cinema.

A down on his luck pulp novelist arrives in post war Vienna on the promise of a job from an old friend, only to find he has been killed in a car accident. Convinced of a conspiracy, he investigates. Graham Greene's adaptation of his own novel has a hell of a lot to commend it; an intriguing mystery set in beautiful locations, with some gorgeous cinematography and full of wonderfully framed shots by director Carol Reed. Cotten makes an interesting departure from the usual Noir protagonist, both a fish out of water AND out of his depth. Trevor Howard is also great as the officious British investigator and Alida Valli is a beautiful, vulnerable yet complex love interest. It has only one flaw for me, but it's a near fatal one. The soundtrack is so intrusive and inappropriate it almost wrecks the film completely. It is far too loud, totally antagonistic towards the atmosphere the director and cinematographer had worked so hard to achieve and virtually constant. It's like trying to watch The Maltese Falcon sat next to the band in a Greek restaurant and it seriously grated on my nerves. It's a real shame because pretty much everything else about this film is excellent.

I hate romantic comedies with a passion. Or rather I hate what they have become. If you look back to the golden age of Hollywood, it is peppered with gems like this one, in which hard-drinking and cynical reporter Clark Gable ends up shadowing a runaway heiress to get the scoop that'll put his career back on track. And yes, we all know what's going to happen, but in this case it's done with such charm and wit that it's impossible not to like. Frank (It's A Wonderful Life) Capra is a master of presenting an optimism and faith in the common man with a subtlety and sophistication that rarely descends into schmaltz. Claudette Colbert shimmers and is the epitome of 30s glamour, and her chalk and cheese pairing with Gable's gruff machismo works beautifully. The scene in which they share a motel room, sharing their feelings through a dividing blanket is a classic, as Gable's heart finally melts despite his distaste at her over-privileged background. But Capra's optimism even extends to the wealthy, showing her ostentatious father is also just a man whose love for his daughter is his greatest concern. It's a delightful film, and along with the likes of Philadelphia Story and His Girl Friday, it is one of the greats of romantic comedy.

Bogart is execellent as the obviously psychologically damaged captain relieved by his officers who raise doubts about his fitness to command. One of the great courtroom dramas

A brilliant drama made at the height of the cold war in which US president Henry Fonda must use all means at his disposal to avert a nuclear war from being accidentally triggered. An extremely sobering dramatization of the consequences of nuclear armament, it draws inevitable comparison to it's contemporary Dr Strangelove. It obviously has a much more serious and understated tack, but even in this day and age when the idea of nuclear war has never seemed more distant, it still packs a punch.

Alec Guiness or Tom Hanks. Hmmmm...let me think...

James Cagney's most famous role as a mother obsessed psychopath duped by an undercover agent. Hugely influential formula, copied umpteen times by Hong Kong cinema, and of course, QT in Reservoir Dogs.

Grizzled combat veteran Jack Palance locks horns with cowardly commanding officer Eddie Albert in this gritty and uncompromising WWII story

His Girl Friday features one of the great screwball partnerships of all time as Cary Grant and Rosalind Russell bicker and swap wisecracks faster than a pair of Grouchos on amphetamines. Russell is a wonderfully independent female lead, giving as good as she gets from Grant's hilariously immoral and hustling newspaper editor. Beneath the fast paced laughs there is also plenty of black comedy and social satire to be had, poking fun at the media's attitude to what is "newsworthy", political corruption and a veiled commentary on the validity of the death penalty. Which all may go relatively unnoticed as you'll probably find yourself laughing too hard! Classic comedy.

A strong cast led by the superb Steve McQueen tough it out in a gritty WWII story that concentrates on the soldier on the ground rather than the "big picture". One of my favourite war movies.

One of the best war movies out there as Gregory Peck endures seeing the sacrifice of the lives of his men for no discernible reason during the Korean war. Gritty, powerful and thought provoking stuff.

Sparkling, witty comedy of manners featuring a cast studded with Hollywood legends, later remade as the musical High Society

A brutal debut by Kitano, who's laconic and corrupt cop makes Dity Harry look like Dudley Doright. Gripping and shocking with a typically nihilistic climax, this movie is almost wrecked by an atrocious & completely inappropriate soundtrack that sounds like something out of a cheap 80s softcore porn movie

A forgotten B-movie gem full of faces that will be familiar to fans of the TV series Twin Peaks. An alien criminal who can inhabit the bodies of his victims comes to earth pursued by alien cop Kyle McClachlan. He grudgingly teams up with a local cop to hunt down the seemingly indestructable foe who can move from body to body when he becomes too damaged. The opening scene of a gleeful villain robbing a bank and racing off in a stolen Ferrari (taking the time to send a wheelchair bound old man flying through the air in the process) sums up the film as a whole. Fast-paced, funny, daft and massive fun.

Classic psychological horror that disposes of the usual simplistic stereotyping of the villain of the piece, and fleshes out a believable portrait of a sociopath with no concept of right or wrong, and the surprise ending is genuinely creepy. It also spawned a typically dimwitted Hollywood remake by the same director.

A brilliant idea perfectly executed. Funny and exciting and Christopher Lloyd is fantastic. I never tire of seeing this film! The second one was a mess though.

Horror films for the most part are like theme park rides; they provide a few cheap thrills and shocks, and when they are over, it's back to normality. There are no monsters, zombies or vampires in real life. The most disturbing thing about Wolf Creek is that there ARE people like Mick Taylor in the world; men who see other human beings as animals to be preyed upon and who can cheerfully torture and kill them without conscience. I was gripped by this film as soon as he appeared on the screen, the biggest kick in the gut is the sheer believability of it all. Quentin Tarantino described it as "the scariest film I've ever seen". This may or may not be true; but it's surely the most horrific. The Hitcher for grown ups.

A young woman and her brother are attacked in a cemetery by a strange shambling figure, and she flees to a remote house where a motley crew of survivors are holing up against a horde of flesh eating zombies. George Romero's Night of the Living Dead is the seminal zombie film that spawned an entire genre, and is an abject lesson that strong ideas can make a brilliant film without a big budget to back it up. Duane Jones is great as the pragmatic hero who keeps a cool head and sets about survival as a job of work, and Romero's choice of a black actor to play the hero was clearly a conscious one. It's a story of the whole fabric of society unraveling; a black man taking centre stage and ordering middle class whites around, the system is shown to be ineffectual and run by bickering bureaucrats, one of our "heroes" is a coward despised even by his own wife, and the dysfunction of the family dynamic is to the point where family members butcher and chow down on each other! The stark black and white photography still looks good, as do the effects which actually hold up better than many later films and it has an edginess of style that has more in common with the likes of Psycho than a splatter flick. Ruthlessly uncompromising through to the shocking conclusion, and one of the most influential horror films ever made. A classic.

The final installment in the Infernal Affairs trilogy takes place right after the events of the the original, as well as introducing two new characters and their roles leading up to and during those events. Add Andy Lau's deteriorating mental state to the constantly shifting time line, and it's hardly the most accessible story you are ever going to see, but those willing and able to make the effort will not regret it. It has the same beautiful photography and intelligent script and the psychological spin almost makes it a kind of high brow version of Face/Off. All the leading players are excellent, and the romance between Tony Leung Chiu Wai and Kelly Chen which was appropriated for the script of The Departed is rather more charming and believable in it's original form. For me, better than the second part and a fine finale to the series.

Basically just some scenes from the TV series re-shot. But those scenes are probably the funniest comedy sketches ever written. Genius!

The best of the Police Story movies, and possibly my favourite Jackie Chan. A bit grittier and less humourous than the others, with some truly spectacular stunts. And the magnificent Michelle Yeoh.

Witty intelligent and warm indie movie that is everything the likes of Garden State ought to be. Quirky, but with genuine depth.

A gambler with almost supernatural ability suffers head trauma and amnesia so two petty hustlers take him in and try to find a way to profit from his gift. Another film made by Chow Yun Fat at his most handsome and debonair, easily the best parts of the film are when he is in command of his powers and he has a real presence and charisma about him. Unfortunately, Wong Jing's usual penchant for pandering to the cheap seats has him acting like a retarded child for most of the film, in a kind of Jackie Chan style homage to Rain Man. There are some laughs to be had, but this section is far too long and I found myself longing for Chow to regain his memory again and kick some gangster ass; when he does, it works pretty well but it is sooooo long in coming. God Of Gamblers has a few very nice sequences, but the direction is inconsistent, lumbering between cheap laughs and sentimentality for too much of its run time. It has dated better than some of its contemporaries and its worth seeing for the good bits, but there's too much sap and not enough action.

Guillermo Del Toro's latest masterpiece is a gothic fantasy that sees a young girl escape into a world of fauns, fairys and political allegory to escape her cold, cruel, clockwatching, jack-booted step-father who is a kindred spirit of Schindler's list's Goethe. Once again Del Toro blends beautiful imagery with an affecting war story and the result is an enchanting experience that throws into sharp relief the fact that fairytale endings did not exist for the spanish people during the civil war. I must admit, I do prefer The Devil's backbone but fans of Tim Burton and Jeunet will adore it.

Nicholas Angel is such a good cop, he's shipped off to the most law-abiding village in the country to stop him showing up the rest of the force. This brilliant pastiche of the Hollywood action movie is brought to you by the same team as Shaun Of The Dead, and has the same mix of silly one-liners, slapstick and spoofery. Transferring all of the familiar action cliches and plot devices to rural England was a masterstroke, and Pegg's obvious love of cult film and TV offers up a wealth of targets for homages, from Bad Boys II to The Stepford Wives to The Wicker Man. In many ways, Simon Pegg is the Quentin Tarantino of British film comedy; there are so many throwaway gags that it'll take multiple viewings to spot them all and I'm sure that the majority of the film references will be lost on a lot of people, and so may it not be appreciated for just how clever it is. This may not have the comedy zombies that enjoy so much affection from the cinema-going public, but the fact is that from one movie lover to another, Pegg has created a much more complete and funnier film in Hot Fuzz. And to anyone who remembers his sitcom Spaced; episode 3 featured comedy zombies, episode 4 was a action movie pastiche revolving around paintballing. So if his next movie is a multi-million dollar extravaganza about the kidnapping of a small scottie terrier named Colin, do not be surprised!

The final part of Chan-wook Park's vengeance trilogy sees an angelic looking young woman imprisoned for the kidnap and murder of a young child. Upon her release from prison 13 years later, her plan for vengeance on the real killer is set in motion. The core of the film is the duality of Yeong-ae Lee's role; her angelic appearance belying her ruthless and single-minded pursuit of her goal, and her quest for vengeance tempered by her feelings guilt about her part in the boy's death. It's not as bleak as Oldboy and does not have it's complex relationships and twists and turns in plot. The characters find some form of redemption by it's end, although the psychology of revenge is examined; do two wrongs make a right? Min-sik Choi's child killer is completely without redeeming qualities, but it is still uncomfortable seeing his suffering at the hands of the people he has wronged even though they are acting on the part of justice rather than cruelty. Visually, it's stunning. Chan-wook Park's eye for composition is wonderful, and combined with a beautiful use of colour, location, costume and set design it truly is breath taking to look at. The title sequence and even end credits are gorgeously designed; add to this a lovely baroque soundtrack and the product is something akin to an cinematic work of art.

An aspiring, fresh-faced young actress new in Hollywood discovers a woman in her appartment who is suffering from amnesia and they attempt to discover who she is using only a few slender clues. David Lynch once again delights and exasperates with this beautiful and always intriguing modern noir. It does not surprise me to discover that this was originally intended to be a TV show, as it reminded me a lot of Lynch's classic series Twin Peaks. It is not as baffling as much of Lynch's work, and although there are shades of Lost Highway in that suddenly the characters seem to become someone else, it does have a coherent narrative that explains all (if you were paying VERY close attention!) Lynch uses his trademark intensity of imagery and sound to create an otherwordly feeling, but it is not as sinister as some of his other work and so it's rather more accessible; the finale of the film is astonishing. Another stylish and seductive headf*** from the master.

Terrence Malick's artful WWII movie actually feels more like a Vietnam film because of the jungle locations, and combined with voice-overs and a moving score it is very reminiscent of Platoon. It is rather more subtle than Stone's film though, Malick choosing to contrast the ugliness of conflict with the timeless beauty of nature and simplicity of the life of indigenous tribes who have not adopted the concepts of nation and politics. The battle sequences themselves show war not as glorious, but chaotic and terrifying, and acts of bravery are just as likely to be moments of madness as conscious decisions to be heroic. The sprawling cast packed with star names are uniformly excellent, and the characters well-written and 3 dimensional, from Elias Koteas' captain who feels such an attachment to his men, he is unwilling to risk their lives, to Nick Nolte who sees them as nothing more than a resource; pawns on a chessboard to be used to achieve his own personal glory. The film is slow moving, but in a thoughtful rather than dull way, and the sumptuous visuals are complimented by a wonderful score; a deeply affecting and beautiful, beautiful film.

After a panicky phone call from an ex-girlfriend, a high school student finds her dead and sets out to find out what happened to her. My first thought about this film was "Heathers rip-off". This soon became "David Lynch lite". But then it became something wholly different; it was as if I were watching the film evolve as it unfolded. Essentially it's a film noir relocated to a high school. All the types are present; cynical loner as self-destructive anti-hero seeking atonement for some past crime, the intellectual nerd as steetwise sidekick, prom queen as manipulative femme fatale, high school musical diva as gold digging vamp and dope dealing stoner as the petty hood cum stool pigeon. These characters are so well realised and "adult", you often forget the whole school setting, and the director cleverly reminds you from time to time with wit and humour; the fact that the sinister "kingpin" still lives with his mom a prime example. The hardboiled dialogue is especially well recreated, the machine gun delivery almost too snappy; I found myself rewinding the DVD so I didn't miss anything. The use of light and shadow is also particularly effective, especially when Gordon-Levitt is "enlightened" with the use of a mirror in a darkened basement. This film shows an understanding of the genre rarely seen outside of a Tarantino flick, and has single-handedly restored my faith in indie cinema after recently enduring the dismal You And Me And Everything That Blows. Rian Johnson is definitely a name I will be looking out for in the future.

A wandering blind masseur with unsurpassed skills as a swordsman finds himself allied with a quirky collection of misfits against a ruthless criminal gang, including a brother and sister impersonating a pair of geishas and an unlucky would-be gambler. I'm a big fan of Beat Takeshi, and I love samurai movies so I was never going to dislike this film. It's my first non-gangster piece from him and I have to say, it's got to be my favourite; the great cast of likeable oddballs feel like real people rather than resorting to the kind of contrived wackiness of many indie style films, and it has a mix of ingredients such as a wide streak of gentle humour and even a musical tap number(!) that just don't sound like they'd fit in with a samurai film, but somehow it works! The explosions of artful violence are beautifully done, with an inventive use of CGI to represent the gushing blood that looks like splashes of vibrant red paint against the subdued tones of Beat Takeshi's cinematic canvas. An inventive and beautiful looking samurai film that is a worthy successor to the heritage of Akira Kurosawa.

Christian Bale and Michael Caine are re-united with director Christopher Nolan in this beautifully crafted period mystery which sees two magicians locked into an escalating vendetta after a trick goes wrong resulting in the death of Hugh Jackman's wi.fe. Nolan proves himself once more to be as masterful at misdirection as the illusionists themselves, producing a wonderful looking and cleverly scripted tale of revenge that's full of twists and turns. His favoured method of disjointed timelines works very well, feeding the audience important plot elements at strategic intervals, keeping you guessing until, well NEARLY the end...when the final twist reveals itself, it does take a certain amount of suspension of disbelief, but hey, this isn't a documentary. The performances are all fine, although Scarlett Johansson doesn't really have too much to do except look pretty, but she manages to muddle through. Another cracker from one of the most consistently good directors working today.

I really enjoyed this. The concept of having a white racist and a black man chained together, forcing them to co-operate is hardly the most subtle of concepts, but Poitier and Curtis make a great double act. Intelligently written and suspenseful.

An alien race recruit the crew of the NSEA Protector to aid them in their fight against a galactic tyrant, unaware that they are just a bunch of washed up actors from a cancelled TV show. I'm not the biggest fan of Tim Allen, but he is spot on as the...(read more) drunken egotistical has-been bickering with his equally well-played supporting cast in this surprisingly well made sci-fi spoof. The film is stolen out from under him (ironically, considering it's similarity with the target of the parody!) by Alan Rickman's Spock-like Dr. Lazarus, a Shakespearian actor pained by what his career has come to; the look of horror on his face when he has to utter the line "By Grabthar's hammer, what savings!" is priceless! With a knowing and witty script and effects and action sequences that shame most sci-fi that's meant to be taken seriously (including most of the Trek films themselves), this film really is great fun.

Amelie is a young woman who grew up with only her emotionally challenged parents for company, and now lives in a world which is a combination of fantasy and vicarious experience as she touches the lives of those around her. Amelie is also a the kind of film that reminds you why you fell in love with cinema in the first place; and not just because Audrey Tautou is so adorable I could eat her up with a dessert spoon. Well, not entirely anyway. Some may be shocked to hear that I'm not exactly a fan of romances, but this is bittersweet, funny and touching in a way all romance aspires to but very few achieve; it's one of those films that's life affirming in a way that makes you feel like your life is richer for having seen it. Compared to this, the likes of Eternal Sunshine and Lost In Translation (great films both) are like inebriated, club-footed bullocks with poor depth perception crashing around in an existential china shop. Chock full of beautiful images and sounds, thought provoking and utterly enchanting, and an instant favourite. Just see it; your life will be better for it...

Sam Peckinpah's eulogy to the old west is a classic of the genre, and one of the best films ever made. One of the most striking things about this film is the total lack of a "good guy vs. bad guy" mentality, something Peckinpah made clear right from the opening scene when Holden's men arrive dressed as soldiers, seemingly about to be ambushed by outlaws. But everything is not as it seems. Holden and his gang are a bunch of outlaws and thieves, but operate with loyalty and a code of honour. Robert Ryan, an ex-partner, heads a pack of bounty hunters hunting them down who act like the vultures picking through the trail of corpses they leave behind. Boasting not one, but two of the most spectacular shoot outs ever committed to celluloid, the final scenes redefine the word "bloodbath" and make a John Woo set piece look like a Sunday school picnic. It does sag a little in the middle when there's one too many scenes involving tequilas and trumpets, but otherwise, a classic.

Children Of Men presents a vision of the near future in which the human race has been sterile for 18 years and chaos rules the streets. Terrorist factions war with a fascist state which hunts down immigrants and herds them like cattle into pens and detention slums for deportation. And it's all 100% convincing. The direction and cinematography of this film is breathtaking; you really feel that you are there, suffering with the characters in a world that's degenerated into Hell. Clive Owen's performance is superb as the camera rarely leaves him, his character being the sole focus of the story as he finally finds something to believe in again. On first viewing, I must admit that I found the ending unsatisfactory, which marred my enjoyment of the film but on a rewatch I concentrated on the journey, and it is more than worthwhile. The scene involving the siege on the tower block alone is remarkable, and I actually thought it would have made a fitting ending right there. Even better on seconding viewing.

This IS England. I've never seen a film that so completely sums up a place and time as this one; an England in a time before the internet, DVDs and Playstation, where the only outlet for bored teens was music and the tribal camaraderie that accompanies it. The plot is not the best you will ever see, but this is one of those films where the plot is not the point; it skillfully side steps cliches and stereotypes and constantly defies jaded expectation. It has an understanding of humanity and what drives it that very few do, and presents it perfectly. Every single character is completely believable and it attempts to understand the motivations behind even the most despicable character. Even the hardcore nationalists are not demonised, but shown exactly as they are; a bunch of ignorant, self-important bullies who look to everyone and everything but themselves to blame for their own failings and problems. Much has been made of the performance of young Thomas Turgoose, but for me it was Stephen Graham as Combo who really impressed. My only reservation was that much of my enjoyment derived from the huge wave of nostalgia for my childhood and the years growing up in the eighties it provoked, so I'm not sure if it will translate to foreign audiences. Both beautiful and ugly at the same time, it's emotionally affecting, frightening and incredibly well observed. What British film making SHOULD be about.

The life of drug dealer George Jung is the subject of another engaging performance by Johnny Depp. The film has a lot of things in common with Goodfellas; the true life story of a man's life of crime, the voice-over, the way the story darkens once cocaine appears on the scene. It even cheekily casts Ray Liotta and a Lorraine Bracco look-alike as George's parents. The main difference is in the tone; it has a gloss that skims over the moral implications of Jung's actions, portraying him as a charming and likeable entrepreneur and never showing the results of his criminal activity. As such it lacks the power and grittiness of both Scorsese's masterpiece and Traffic. Moral implications aside though, it's a well written, well acted and enjoyable tale with a nicely poignant ending.

The irony of the title of Stanley Kubrick's powerful anti-war film cannot be missed. Kirk Douglas plays a colonel in the French army of WWI who is ordered to make a futile attack by an arrogant and effete general for his own personal and ambition fuelled reasons. When the offensive inevitably fails, he orders the execution of three men picked at random for cowardice. This film contains none of the usual flag waving and macho heroics, Kubrick preferring to make a blistering attack on the hypocrisy of the politics of war and those who wage it from behind their lines, luxuriating in chateaus and attending costume balls while the men they so casually send to their deaths suffer under impossible conditions. It is much an attack on the class system as anything, as the aristocratic officers can perpetrate appalling acts of cowardice with impunity while innocent fighting men are made "examples" of or treated with disdain when suffering from shellshock (which "does not exist"). A powerful and intelligent examination of how war is fought from one of the true masters.

Fearless is based on the life of Huo Yuanjia, a martial artist who became the figurehead of Chinese national pride at the turn of the century. The format is all very familiar; a famous fighter becomes drunk on his own success until his arrogance results in tragedy leading to his downfall. He learns what is important in life and overcomes adversity to fight a final battle to restore the pride of his country. Yes, Rocky, The Karate Kid and a hundred others have followed this formula, but the fact that this is in fact based on a true story gives it much greater credibility. I would also have to say that, although I may be biased, the way the Chinese approach the subject matter is something akin to comparing a piece of artful, moving poetry to Hollywood's ham-fisted and tacky greetings card rhyme. Full of the kind of beautiful imagery you'd expect from a nouveau martial arts film, and typical of the kind of superb action sequences you'd expect from Jet Li and Yuen Wo Ping (fight choreographer for The Matrix amongst others) it's yet another example of Asian cinema at it's finest.

Three travelers shelter from the rain at abandoned Rashomon gate and tell the tale of a murder trial they have just witnessed. Akira Kurosawa's stunningly clever script is years ahead of it's time, tackling subjects as diverse and profound as the nature of truth, self image, gender politics, psychology and the "butterfly effect" (four decades before chaos theory became accepted). As the same story is told from four different perspectives, it becomes obvious how a story can never be entirely objective; even the "impartial" witness has a hidden agenda when recounting what actually happened. As such it can be seen as a direct influence on the likes of Jackie Brown, Memento and The Usual Suspects and everything in between. The performances are all great as each retelling of the story gives each character a slightly different personality, especially Toshiro Mifune's melodramatic and heroic "battle" that bears little resemblance to real events. Kurosawa's fantastic sense of composition is also in evidence as each shot resembles a beautifully framed photograph, although at some points (particularly at the beginning) the visuals can seem a little self-consciously "arty" which gets in the way of the narrative a little. I also found the storyteller's opportunity for redemption at the end a little convenient, but these are comparatively minor points. Another classic from arguably the greatest film maker who ever lived.

A samurai sick of war takes in a group of orphans and trains them to be assassins with the sole purpose in life of killing the warlords responsible for the constant bloodshed. Based on a comic book and directed in a very anime style, this film has more in common with a superhero movie than a samurai epic, and contains the associated melodrama and lack of moral ambiguity; it's all about the good guys kicking bad guy ass. And very stylishly they do it too. Ryuhei Kitamura stamps his usual slick visuals onto the action, and although he cannot resist overcooking them from time to time, the set pieces are very well staged. The fight sequences get ever more impressive as they go, the highlight for me being the scene in which we finally get to see Azumi's master in action. Hardly the height of depth and sophistication, but this movie is perfectly paced and never drags during it's highly entertaining two hour length.

Roman Polanski directs the harrowing story of Wladyslaw Szpilman, a Polish pianist and Jew who survived the horrors of the holocaust in WWII. Adrian Brody' performance is the centrepiece as it is a very personal journey as you watch with despair and revulsion as Polish jews are stripped of their livelihoods, their rights and their dignity by a brutally oppressive regime. It's unusual in that rather telling the story of a man involved in a war, it's more of a spectator's point of view; in fact the later scenes in which Brody is entirely alone, disheveled and scavenging for food in a decimated wasteland feel a little sterile. The absence of human interaction means it lacks the emotional impact of something like Schindler's List, but it is a shocking and horrifying tale, made all the more so when you consider that Szpilman was actually one of the "lucky" ones.

Telling the story of a serial killer who terrorized the San Francisco bay area in the late 60s and early 70s, this film is yet more evidence that David Fincher is one of the most talented directors working today. It's perfectly paced, as the narrative switches between the frustrated detectives that seem to hit a dead end every time they uncover a promising suspect and the obsessive-compulsive journalist who cannot allow himself to let the murders remain unsolved. It looks fantastic, Fincher bringing his trademark brooding atmosphere to a frighteningly cold blooded series of crimes (although for me the most disturbing murder scene actually took place in broad daylight) and the top notch cast all deliver. Those who need their stories to be tied up at the end in a nice big bow may not appreciate the open-endedness of the conclusion, but it is based on a true story, so what're you gonna do? Perhaps lacking the character of Fincher's best, but flawlessly executed.

Based on actual events, The Wind And The Lion is the story of a banished Moroccan chieftan who kidnaps an American woman and her two children in an attempt to rid his country of its occupying European forces resulting in a stand off between he and president Roosevelt. Written and directed by John Milius who was responsible for scripts as diverse as Apocalypse Now and Conan The Barbarian, this film contains his typically clever dialogue and political subtext as well as a healthy dose of rousing action. There is a satirical commentary on colonialism in general as well as America's role as self-appointed world policeman; Roosevelt is shown as a man more interested in self-aggrandisement and bluster than justice, all too ready to send in the troops to stamp his will on the rest of the world (the American's glorious "victory" is against a hugely inferior and unprepared force. Plus ca change...) His opponent is played by Sean Connery at his most charismatic, and Candice Bergen ably fills a role originally intended for Katherine Hepburn as the kidnapped woman who grows to understand the man and realises he is no savage, but an honourable and educated leader of men. Add a great supporting cast and a rousing score, it's in turns funny, clever and exciting making this adventure from the old school at it's most stirring.

A Texan welder stumbles across the aftermath of a drug deal gone wrong and helps himself to the $2 million in cash no-one is left alive to claim. Unfortunately he does not count on a single minded psychopathic killer with a tracking device...This film basically distills elements of all their best work and creates a cold and cynical statement on the state of man. Javier Bardem's character is the most chilling and amoral bastard you will ever see; on more than one occasion he reminded me of a terminator with bad hair, except more cold-blooded! The pursuit of the stolen money just leads to bloodshed and tragedy for all involved, many innocents dying for just being in the wrong place at the wrong time. The underlying theme is the randomness of life; good things DO NOT happen to good people and there is no karmic "masterplan". This means that the ending may leave some feeling a little cheated because things aren't tied up nicely into a complete and satisfying package as so many stories are conventionally presented. But the journey there is as gripping as anything you are going to see; it has the tension, brooding atmosphere and cynicism of Blood Simple, the pragmatic investigation by a dismayed lawman in a similar way to Fargo and the style and brutal violence of Miller's Crossing. The shoot out between Bardem and Brolin is one of the best I've ever seen, reminding me of Michael Mann meets Peckinpah with a dash of Assault On Precinct 13. It is a case of the journey being better than the destination, but any Coen brothers fan will not be disappointed; they are back to their best.

Charles Bronson plays Chaney, a drifter who chances upon small time bare knuckle boxing manager James Coburn and they form a partnership to make some money in depression era New Orleans. A great sense of period in a similar vein to Bonnie And Clyde permeates this compelling streetfighting drama, directed with the usual no-nonsense approach of boy's own favourite and Peckinpah protege Walter Hill. To be sure, it's a veritable testosterone fest, but it's by no means your typical Van Damme style action nonsense. Bronson has never been better as the laconic fighter who sees his bouts as pure business; there's no malice in him and there's a total absence of the kind of glorification of violence you see in most boxing films. In this way it has far more in common with the likes of Raging Bull or On The Waterfront. Coburn is also excellent as the smart mouthed hustler he befriends and Jill Ireland's unsentimental love interest has never made the down at heel seem more glamorous. A simple but effective story that highlights Bronson's consummate badassery without the usual trashiness that accompanies most male-orientated tough guy films and easily one of Hill's best moments.

The story centres on Saigo, a young baker who is conscripted into defending the island of Iwo Jima as the last line of defence against the advancing American forces. The Japanese "forces" are shown as a dishevelled, barely equipped and starving rag tag collection of survivors huddled in underground caves, overwhelmed by the collective might of the US navy and suffering at the hands of fanatical commanding officers who are all too willing to commit "honourable" suicide. In a brave move, Clint Eastwood chooses to show the invasion of Japan from their perspective, and not only that but actually uses Japanese actors speaking in Japanese; the entire film is subtitled which I'm sure went down a treat in Hicksville, USA...This is a very human war story, centering far more on the beautifully written and totally believable characters than individual politics. It's a wonderfully understated film, the performances first rate, the cinematography a stunning blend of documentary and artful visuals and it's accompanied by a haunting but subtle soundtrack. It's a million miles from the button pushing contrivances of most war films; probably because it was made by a member of the "enemy" nation and that's what makes it work so well as a very personal story. Saigo is shown as just another human being, just as the American troops are; some are murderous and selfish, others kind-hearted humanitarians. Which side they were on is irrelevant. But the main thought it raised with me was this; if this was the best "resistance" the Japanese had to offer, it seriously calls into question the strategic value of Hiroshima and Nagasaki.

James Brolin heads a team of astronauts who're pulled from their capsule seconds before the launch and told they must help fake a Mars landing in order to save the space program. Meanwhile Elliot Gould is a reporter whose friend that works in the Houston command centre tells him of a discrepancy in the telemetry. This friend promptly vanishes and he finds someone else living in his apartment, so he sets about discovering the truth. This hugely entertaining conspiracy theory thriller from Peter Hyams delivers an interesting premise told with boy's own panache. Elliot Gould does what he does best as the smart mouthed reporter and gets all the best lines in some witty quickfire banter with his editor and love interest, and the action is provided in the astronaut's escape from the NASA compound. Hyams makes great use of the desert locations and there's an exciting finale in the form of an aerial chase through it's canyons between two black ops helicopters (cleverly given a kind of faceless, malevolent personality through formation flying) and a barnstorming crop duster played by Telly "Kojak" Savalas. Occasionally a little far fetched, but it's funny, intriguing and exciting, and great fun.

A very cynical buddy cop movie from the seventies with some sharp, funny dialogue and real chemistry between the stars Elliot Gould and Robert Blake. A little known gem that Hyams virtually remade in the 80s as Running Scared.

Hunter S. Thompson's semi-autobiographical novel and essay on the emptiness of the American dream in post sixties Las Vegas is brought to life by Terry Gilliam in a way very few could've managed; his mixture of lurid visuals, surreal humour and celebration of the grotesque captures its spirit perfectly. It's long been one of my favourite books, and this is exactly how I pictured it in my head as I read it. Johnny Depp nails Thompson, and is spot on as the drug-addled outsider who sees himself as an alien in his own country, providing some very insightful commentary on the America of those times. Benicio Del Toro is also fantastic as his Samoan sidekick and it's hilarious to see the pair of them crashing through "polite society" without the slightest regard for acceptable, conventionall behaviour. With cameos from the likes of Christina Ricci and Harry Dean Stanton, the cast is to die for there are loads of funny lines and physical humour that'll make anyone who has had one too many (of anything!) laugh and cringe knowingly at the same time. Capping it off there's also a superb soundtrack of the greatest music of that period. Those looking for a coherent plot will be disappointed, but that's the nature of the beast; deeply sick and totally hilarious, it's America's answer to Withnail & I.

This pitch black hearted noir was something of a flop on its release, and it's not difficult to see why. Not through lack of quality, but rather the fact that its unrelenting cynicism and bleak outlook is certainly not for the faint hearted. Tony Curtis turns in easily his best performance as Sidney Falco, an obsequious press agent who is perfectly willing to sell his soul to get on top, and Burt Lancaster is similarly superb, brilliantly cast against type as a cold-hearted tyrant (even describing an attack on his character as an attack on his country, the cry of despots throughout the ages) who controls all around him through contemptible manipulation. The core of the film is the creepily ambiguous relationship between he and his sister; at one point he refers to her "apron strings", an allusion to motherhood, but he also keeps a portrait on his desk as one would a spouse or lover... It is unusual in that instead of fists and bullets, all the damage is done through words and insinuations; the razor sharp dialogue is amongst the best ever written for the screen, and the magnificent photography represents the city streets as blackly as the protagonists' hearts. The package is completed by a soundtrack of fantastic contemporary jazz and the overall result is one of the pinnacles of film noir.

AVP 2 continues directly from the ending of the first film, with an alien/predator hybrid causing the ship to crash land back on Earth. A second ship is dispatched containing a kind of space-age alien cross between a CSI and Batman to clear up the resulting mess. The first film was dumb but fun, but I have to say I did not have high hopes for this one. At first it seemed that my fears were going to be justified because the first act of the film resembled a teen slasher flick more than anything else, complete with semi-clad nubile teens, people being picked off one by one in dark corridors and the inevitable pre-scares and false alarms. However, once the aliens hit the surface things got a LOT better. It "borrows" ideas heavily from other sources, notably Dawn Of The Dead and especially Aliens; a couple of scenes are lifted directly from it and the kick-ass mom protecting her young daughter is an obvious copy of Ripley. But it does it WELL. Despite the fact that the film can look a little too dark making it difficult to tell what's going on in places, it does look great and the fight sequences are very well done. The small town stereotypes are a little underwritten, but the action makes up for it and it never shies away from the gory side of things giving it a distinctly horror style spin. The alien hybrid is also done far better than the one in Alien Resurrection. For once it seems that a sequel has learned form the mistakes of its predecessor, and the result is a very pleasant surprise.

A deadly plague that turns the populace into flesh eating mutants is released into the atmosphere and a band of misfits join together to fight their way to safety. Robert Rodriguez' pastiche of seventies and eighties style schlock horror seemed like a real breath of fresh air to me. The fact that two of its greatest exponents, Sam Raimi and Peter Jackson have been heading further and further down the overlong, sterile, technology orientated road of mainstream cinema makes it all the more ironic. Tarantino and Rodriguez seem to be headed completely in the opposite direction, concentrating on entertainment rather than ego, and in this film they deliver just the right blend of tongue in cheek humour, knowing homage and outrageous gore, the likes of which I haven't seen since Evil Dead 2. It's half John Carpenter and half George Romero, but manages to ape the films of their hey days to such an extent it surpasses anything either of them has done for a couple of decades. The cast overact their cinematic stereotypes to just the right degree, and the gore is amusingly ridiculous in a similar way to Return Of The Living Dead, itself a tongue in cheek semi-sequel to Romero's original zombie film. It'll never change your world, but that's hardly the point. 100% proof pure entertainment.

The Assassination Of Jesse James By The Coward Robert Ford is a bit of a mouthful, but it's titled perfectly. The script is extremely literary and the title is deeply ironic and highlights the fact that real life bears little resemblance to the simplistic interpretation of events that "legends" present. In fact it was Ford's disillusionment in his dealings with the man compared to his childhood hero worship that probably contributed greatly to the resulting killing; that and his own wish to be revered as a "hero" himself. The cinematography is simply beautiful, the film resembling a period photograph come to life. The train robbery scene is one of the most visually stunning pieces of cinema I've ever seen. The performances are also top notch, particularly Brad Pitt whose intense and intimidating interpretation of James once again proves that given quality material he can more than deliver the goods. True, it's rather slow moving and talky, but as such it's a completely different take on one of the most oft filmed stories in cinema, and also one of the best.

Being a bit of a latecomer when it comes to The Dark Knight, this film was always going to be about the hype. It's a tall order to live up to the expectation generated by the most anticipated film of the year directed by one of my favourite directors containing a performance lauded over by all and sundry.
Basically, it had a HELL of a lot to live up to. And no, it did not disappoint. Much. I loved Batman Begins, particularly its examination of the psychology of Bruce Wayne/Batman. Unfortunately this is pretty much absent from The Dark Knight; it's The Joker's show all the way, and Ledger tiptoes the line between playfulness and psychosis perfectly. His character is obviously designed to strike a cord with western audiences as a villain with no agenda, fear of death or capture, no objective other than chaos is clearly the ultimate "terrorist". I just wish there had been more dialogue between he and Bale, rather than The Joker making observations while Batman wordlessly pounded on him. But absolutely every other aspect of the film is pretty much flawless; the action, the effects, the performances, all spot on. The script is brilliantly written and I was glad to see it didn't follow the usual pattern of "we're all super-baddies so let's all join up to fight the hero", instead Two Face being a far more believable by-product of The Joker's manipulations. I still prefer the stylistic approach of Sin City, but it's still easily one of the best superhero films ever made.
On second viewing, I watched it right after Batman Begins and they fit together seamlessly to the point they could easily be seen as one complete story. This rectifies all the problems I had with it on the characterisation front. My one gripe is with the flag waving speech Gary Oldman makes right at the end that left me a little cold, but otherwise it's pretty much perfect.

This bleak tale of revenge set in a small English town sees Paddy Considine leaving the army and returning home to extract brutal revenge on a group of small time drug dealers who abused his retarded younger brother while he was away. This is an unusual revenge thriller as it often looks more like a slasher flick; Considine is obviously an unstable murderer who has been trained to kill and he systematically executes each of his victims in a very horror film style way. Except in this case his victims are a bunch of unsympathetic scum bags who you can't help feeling probably deserve their fate. In this way the film throws up many mixed emotions as you're never quite sure who you are supposed to be rooting for! But the real kick in the gut is provided by Shane Meadows; he directs very much like a documentary photographer cataloging the grim reality of working class small town life. The actors involved are ugly. They have bad hair and cheap clothes. In other words they look like REAL people, not Hollywood's glamorized, sanitized version of them. As such you feel you are right there in the thick of it, actually witnessing these gruesome events rather than just watching a piece of entertainment. It won't be to everyone's tastes as it's quite a tough movie to sit through because of its extremely grim subject matter, but ultimately it's a very powerful piece of work.

When street violence spirals out of control, a police unit attempts to cope with the situation and track down a hired killer who proves rather more resourceful than the double-crossing contractor who sells him out had counted on. One Night In Mongkok centres around the criminal underbelly of a district in one of the most densely populated areas of Hong Kong. It involves a dash of social commentary in its portrayal of how rural Chinese flock to the bright lights of Hong Kong to escape poverty only to become treated as a disposable commodity by the ruthless criminals who rule there. Its approach will be familiar to any who have seen the likes of Infernal Affairs or City Of God, falling somewhere between the two in plot and execution. The direction is just the right combination of gritty realism and style and the cast are all strong. The usual combination of brutal violence and grey morality all round won't win any awards for originality, but to anyone who enjoys this type of film, it's a fine example.

American Gangster tells of the rise of 70s Harlem drug baron Denzel Washington and the efforts of crusading detective Russell Crowe to bring him to justice. Once again Ridley Scott proves he is one of the best directors working today, brilliantly bringing the Harlem of the period to life and essentially telling two tales in tandem in an intelligent and always entertaining way. Denzel is always better in his shadier roles, and this for me has to be one of his best. It does not have the grit and intensity of Scorsese's gangster pieces, and the action/violence is sparse. It's more in the vein of something like Infernal affairs in its treatment of the story and Scott's pacing is spot on, as the film despite its two and three quarter hour length never drags. The climactic shoot out is brilliantly done, delivered by Scott in a way you know his brother is completely incapable of; his version probably would have been an unwatchably choppy hallucinogenic migraine. I would have liked to have seen Crowe and Washington sharing the screen a bit more often, but otherwise it delivered on every level. It doesn't challenge the classics, such as The Godfather or Goodfellas, but more than holds its own against other heavyweights such as Donnie Brasco and The Departed.

Michael Clayton is an ex-ADA who now works as a fixer for a corporate law firm. When his old friend and mentor seemingly has a psychological break while defending another corporate giant he is called in to "handle" the situation. I must admit that this film had me hooked right from the incredibly intense monologue from Tom Wilkinson that opens the film. It plays out like a corporate Cold War film; the fact is that the plot will be very familiar to anyone who has seen a few legal dramas and the conclusion has a definite air of inevitability about it. But it's the journey there that makes it so worthwhile. Wilkinson is superb as the corporate slave who has a life changing catharsis, as is Clooney as the complex and morally ambiguous Clayton and Tilda Swinton as the immoral but anxiety riddled executive. It has no pointless action sequences and no gimmicks or twists; it's simply an extremely well written, extremely well acted and attractively and intelligently directed film full of interesting characters and excellent dialogue. Even the portrayal of Clayton's homelife, which is usually cinematic poison, is realistic and unsentimental. Very much in the tradition of the likes of All The President's Men, Michael Clayton is the best straightforward and unpretentious low-key thriller I've seen in years.

A mob enforcer is made an example of when he shows mercy and fails to execute the mistress of the boss he has served with unquestioning loyalty for the previous seven years. Bloody vengeance ensues. Yes, this plot line isn't exactly the most original material you are ever going to see, but this film really is something special. Lee Byung-hun is an anti-hero following the classic examples of everything from Yojimbo through to Kill Bill; an intelligent, quiet and seemingly unflappable character who is the last person on Earth you'd want to piss off! It has the artistic visuals of Chan-wook Park, the gritty violence of Scorsese, the balletic, blood soaked action of old school John Woo films and a quirky credibility reminiscent of Quentin Tarantino. The result is everything I want from a crime drama or revenge story, and anyone who likes any of the above should take pains to track down a copy. Yet another bloody and bloody marvellous film from Korea.

Failed hitman Colin Farrell is sent to Bruges with fellow hitman and friend Brendan Gleeson to lay low after the botched murder of a priest results in the death of a small boy. Sounds like a barrel of laughs doesn't it? But this endlessly surprising film is just that. The dialogue is extremely smart and witty and it's full of very funny and politically incorrect humour as well as gangster related drama and surreal situations that's slightly reminiscent of a rather more cerebral and literary Guy Ritchie movie. Farrell is great as a culturally inept childish oaf who you can't help liking and despite the humourous approach and dubious morality of everyone involved you actually start to care about them all. I particularly liked the way that their moral "code" is shown as absurdly misplaced and hypocritical rather than honourable and the script is quirky but never resorts to self-conscious "I'm mad, me!" wackiness. It's refreshingly unpredictable right to the end and I really, really enjoyed it. People who don't like the "f" or "c" words should definitely steer clear though!

A London model is arrested for drugs trafficking by MI5 and blackmailed into arranging the robbery of a Bank vault to reclaim some embarrassing photographs used by a corrupt black activist to obtain immunity. The robbery is successful but the vault also contained incriminating ledgers owned by some serious villains identifying corrupt police officers and more photos that could embarrass high level members of Her Majesty's government leaving the robbers in a very sticky situation. I wish Statham whould stop trying to be the cockney Van-Damme because this is what he is really good at. One criticism you could instantly level at this film is that the plot is so far-fetched, but bizarrely, it's actually a true story. At the beginning, it appears to be a decent if slightly run-of-the-mill heist movie as the usual collection of lovable East End villains plan and execute their scam but it's actually after the event that this film gets really interesting. The tone darkens and as it gets more hard-boiled and grim, the better it gets. The plot is well written and intertwines the several sub plots cleverly and its constantly entertaining. Darker, grittier and above all better than all of the Ocean's films and a great, unpretentious, old-fashioned British crime drama that can stand shoulder to shoulder with the best of them.

Takashi Miike's Agitator is a story set in the world of the Japanese Yakuza. A larger gang engineers the death of two of its smaller rivals leaders in an attempt to absorb them into their family, not counting on the fierce loyalty of one of their factions and their need for retribution. This film is ultimately about the difference between the needs of big business and the individual set in the brutal world of crime. Kunihiko is not shown as a hero exactly, just a man with an honest single-mindedness who cannot forget the loyalty to his "brothers" forged on the street for the sake of business interests; something that the slippery, money obsessed pseudo-bureaucrats at the top of the ladder cannot understand. It's a tough, uncompromising gangster story filled with graphic violence and has some interesting subtexts, as Kunihiko is shown almost as a samurai Ronin who has no purpose in life other than to avenge his master. Scenes involving a woman who I can only assume is Kunihiko's girlfriend pop up randomly and seem out of place mainly because she is never even mentioned when she is off screen, but otherwise its a cleverly plotted and visceral gangster film that I'd recommend to all fans of Takeshi Kitano and Martin Scorsese, or crime drama in general.

Domineering Philip Seymour Hoffman talks his weak willed younger brother into helping him rob their parents jewelry store to solve both their financial difficulties, but when the heist goes wrong, their lives start to unravel. Sidney Lumet has been making quality thrillers for 50 years, but in his latest effort, he takes a few cues from his younger pretenders. The plot themes have a lot in common with Fargo and A Simple Plan and the execution is reminiscent of Jackie Brown and its familiar disjointed timeline. In fact there is little here that hasn't been done before so don't expect much in the way of originality or surprises. But the quality cast all put in solid performances and Lumet certainly still knows how to pace a story and crank up the suspense. No gimmickry, no pointless frills; just an extremely well crafted and intelligent thriller.

Like The Killing Fields, Salvador and Schindler's List before it, Hotel Rwanda catalogues yet another example of the the human race's remarkable talent for inhumanity. Don Cheadle gives a career best performance as a hotel manager who uses all his intelligence and guile to help save over 1200 refugees from the genocidal rampage of Hutu militants. The rest of the cast also put in the kind of committed performances actors give when they truly believe that a story must be told and although it is a little manipulative, it's never heavy handed or clumsy. I must admit, I didn't realise that the cultural segregation of the Tutsis and the Hutus was just an arbitrary division created by long gone occupying colonialism and the film gives a welcome lesson in the cause and nature of the conflict. It also serves as yet another reminder that the opulent west is very good at making worthy popular entertainment that documents such atrocities, even shedding a tear when reminded of their existence. But we never seem to do a damn thing when it actually counts.

"Slumdog" Jamal who grew up on the streets of Bombay is at the brink of winning the grand prize of India's version of Who Wants To Be A Millionaire when is is "questioned" by the police suspecting fraud. Danny Boyle's latest and highly acclaimed project has a lot of the energy that marked his debut. The clever structure of the film uses his explanations on how he knew the answers to fill in the background of what life is like for the most impoverished members of Indian society, brutalized in religious riots, either ignored or harassed by the authorities and exploited by criminals. In this way it's like a more light-hearted and less violent version of City Of God and has a lot of the power and grittiness of that film. Some of the more disturbing aspects of what these kids go through was made more so by the fact that I watched this film in the company of an Indian who assured me that these practices actually do go on (and in fact were even toned down for the film version). The entire cast are excellent, even the youngest of the children playing younger versions of the protagonists, and the mix of comedy, action and drama is balanced perfectly. Unfortunately the film's strength and depth of character falters during the last reel. Blaming walloping great plot contrivances on "fate" just seemed lazy, and the crowd (and Academy) pleasing ending felt kind of hollow to me, marring what otherwise was an excellent film. The rest of it is definitely strong enough to warrant viewing though, and for me this is easily Boyle's best work since Trainspotting.

Defiance is the true story of Jewish brothers Daniel Craig and Liev Schreiber who hid from the Nazis in the Belarussian forest, and quickly found themselves with an entire community of fleeing refugees to protect. Edward Zwick has always been fond of telling stories about the triumph of the human spirit, although he has been guilty of over egging the sentimental side of things to get his intended point across. Defiance is no exception, but thanks to some clever writing and a strong central performance by Daniel Craig, this film manages to pull itself back from the brink of schmaltz. When Craig mounted a white steed and gave a very Braveheart speech to his new subjects, I thought "Oh great...here we go again...", but soonafter when the people begin to starve, he promptly pulls out a Luger and puts a bullet in its head, almost as if to say "there's a time and a place for pomp and bluster, but this isn't it"! He shows the conflict between animal instinct and humanity quite nicely, sometimes showing compassion and yes, speech making, but at others dealing with the issues at hand with a ruthless efficiency. Craig and some handsome photography made this film for me, and although it is guilty of emotional button pushing, sometimes those are the button you want to be pushed. Especially when it comes to seeing at least a small victory against the greatest shower of evil bastards ever to walk the Earth.

A lawyer finds his family terrorized by a brutal woman hating sociopath who blames him for sending him to jail for 8 years. Gregory Peck was the perfect casting choice as the morally upstanding husband and father who finds he must question his principles when the law fails to protect them from such a wily and dangerous predator. But it is Mitchum on top form who steals the film and brings a real sense of underlying menace to his character; the scenes he shares with Peck crackle with tension. There's also some strong support from the ever reliable Martin Balsam and Telly Savalas (sporting a full head of hair!) and the family scenes are refreshingly syrup free. With a very memorable score and great showdown featuring a classic closing speech, this is far better than the uncharacteristically crass Martin Scorsese remake.

Robert Mitchum plays a rancher who has been stalked since childhood by a one armed man with a grudge, without ever knowing why.The themes of twisted psychology, sibling rivalry, jealousy and revenge presented by shadow steeped photography and narrated by Mitchum who is on top form as the hapless anti-hero who is unwillingly forced to kill by circumstances beyond his control all point to the same thing; I don't care how many stetsons or six guns are on show, this IS Film Noir. The intelligent character driven plot is all very Freudian, which makes for a very unusual hybrid of genres. It looks fantastic and has a solid supporting cast, the pick of which is Judith Anderson as the matriarch whose guilty secret lies at the core of the events Mitchum finds himself caught up in. I'd never heard of this one before, and I'm glad I stumbled upon it. If you like Noir, westerns, or classic film in general, it's worth hunting down a copy.

A downtrodden working stiff who wishes he had more from life discovers one day that he is a super-powered assassin who can bend the laws of physics. Hmmm...I'm pretty sure I've heard this somewhere before. Not to mention the "phew it was only a dream...oh wait, no it wasn't!" scene and the beautiful stranger who becomes his personal Yoda. But as derivative the story is (I'm pretty sure the blame for that can be laid at the door of the graphic novel, as can the ludicrous "loom of fate" idea) it's actually really well executed. It has just the right mix of tongue in cheek humour, slick visuals and outrageous stunts, and McAvoy works as both nerdish nobody and action hero. Jolie also brings the right mix of edginess and exotic beauty and Freeman does what he does best. The predictable plot is as ever the weak point and the character interaction rather limited, but at least it tries to throw in some interesting twists and the breathless pace keeps boredom well and truly at bay. In the end this is an unoriginal but exciting and fun superhero movie and one of the better Hollywood blockbusters of recent years.

A newlywed arrives to find her adoptive family murdered and makes an alliance with a bandit and a mysterious drifter to unite against their killer. Sergio Leone's "dance of death" is probably his most artistic film; what doesn't happen on screen is just as important as what does. It is almost an examination of a difference in the mindset of the sexes. The only female protagonist, played by Claudia Cardinale, is the only one who truly embraces life, and is willing to do whatever it takes to survive. Robards' bandit, Bronson's revenge driven gunman and Fonda's steely eyed assassin not only expect death, but almost welcome it. This film is not about a bullet riddled slam bang finale; it's about a series of events and circumstances leading up to a single point in time, and is all the more powerful for it. Reeking atmosphere and tension, Leone's visuals have never been better and Fonda who is the true central character of the film is perfectly cast against type, his piercing blue eyes almost the opposite of Bronson's emotionless slits. The soundtrack is perhaps a little heavy handed in places and the 2hr 40min running time may seem a little daunting to some, but it's the perfect western for people who prefer them arthouse rather than action packed.

A young woman receives a phone call from her boyfriend telling her that if he doesn't get 100,000 Deutchmarks within 20 minutes he's a dead man. It tells of the consequences of the phone call in 20 minutes of real time three times over, each containing a slightly differing timeline, thus showing how minor incidents or coincidence can have a massive knock on effect to not only your life, but those around you. Run Lola Run is very much a product of its time; the techno soundtrack, grunge fashion and fascination with the mathematics of probability (ie "the butterfly effect") all reek of the 1990s, but Run Lola Run still feels strangely fresh, probably because of its brisk, no-nonsense pace and 75 minute running time meaning it never gets too caught up in pretentious navel gazing. I could have lived without some of the directorial affectations that made it feel a little too much like a music video in places, and the coincidences are of course extremely unlikely, but the urban crime element gives it a Luc Besson-esque flavour that makes for an entertaining and original experience.

Fresh out of prison, a career criminal cooks up an ingenious scheme to rob a racetrack. An early film from Stanley Kubrick, and yet another masterclass. He takes to the visual trappings of Film Noir and creates one of the most efficiently told and tautly directed heist films ever made. Sterling Hayden is perfect as the straight-talking, street-wise mastermind, as is Marie Windsor's Machiavellian femme fatale who twists doomed sap Elisha Cook Jr round her little finger. So much of this film has influenced some of the best directing talent working today that it still feels remarkably contemporary; Tarantino owes much to the over-lapping timeline in particular, and the mix of off beat characters, violent crime and cruel twists of fate is straight out of a Cohen brothers movie (Vince Edwards actually looks the spit of Peter Stormare in this film!) In fact the only element that dates it is the newsreel style voice over, although it does help fit the pieces of puzzle together quite well. Johnny Clay was a brilliant character whom I would have liked to have learned more about, to the point where you are almost sorry to see him caught. But wishing the film was longer is hardly the most damning criticism! Is there any genre Kubrick couldn't do?

The aunt of a young girl who goes missing hires two local private detectives to find her amidst the usual accompanying media frenzy. Gone Baby Gone was directed and co-written by Ben Affleck on his debut behind the camera but please don't let that put you off! It's actually one of the most refreshingly adult and well-written cop thrillers in recent memory. The story felt to me almost like L.A. Confidential done in the style of TV series The Wire, in that there is very little in the way of moralistic black and whites, all set in a ghetto-like environment with the associated colourful yet believable language and characters. It's a film that actually has something to say, examining questions of the personal sense of right and wrong and the cynical media hype machine milking such incidents for all their worth for its own gain. Of course having such superb acting talent involved certainly doesn't hurt, Affleck, Freeman and in particular Ed Harris are are excellent and Casey's brother shows an excellent eye in his surprisingly mature direction. It's not perfect; the story is perhaps a little too convoluted, I myself feeling that there was one too many endings for its own good, but aside from that there is very little to find fault with. One of the most accomplished directorial debuts I have seen in years, and all this from the star of Gigli! Who would've dared to think...?

Changeling is the true story of a young mother in 1920s America whose son goes missing, but when the wrong boy is returned to her she is persecuted by a corrupt police force trying to avoid public embarrassment. Another beautifully crafted and intelligent drama from Clint Eastwood, Changeling is quite an unbelievable story. It highlights the dreadful, uncaring hypocrisy of corrupt officials, the appalling treatment of the mentally ill of the time, not to mention those "hysterical" women who were committed to avoid embarrassment or inconvenience. The period is meticulously recreated and the plot combines the story of a woman unshakably seeking justice against enormous odds and the investigation into a harrowing serial killer case. The cast are all of course quality, apart from the fact that although she turns in in quite a creditable performance, you can never quite forget you are in the presence of Her Jolieness rather than witnessing actual events. The result is leagues ahead of the hand wringing melodrama that missing child stories usually entail and serves both as an intriguing mystery and cautionary tale about human indifference to the suffering of others.

A fisherman caught up in the civil war of Sierra Leone reluctanctly teams up with an amoral smuggler to retrieve a precious stone in the hope that it will secure freedom for his family. Edward Zwick has made a career of making worthy adventure-with-a-message movies which have tended to be a cut above the usual Hollwood action blockbuster fodder, and Blood Diamond is very much in this tradition. Rather than a deeply insightful analysis of the political situation, it is more of a straight action adventure that uses the conflict as a colourful backdrop to the story. Not that it doesn't have any points to make; it highlights the cynical complicity of the West in the conflict diamond trade, and the "politics" of the warring factions whose ideologies extend no further than greedy and corrupt self interest. Zwick's penchant for dewy eyed sentimentality does rear its head towards the end of the film, but no more so than most other films of its type; personally my favourite moment was when Hounsou wordlessly eyed the absurdly ostentatious bauble that has been the cause of all his woes, destined for the necks of the idle rich in a jewelry store window. Not in the same league as the likes of The Killing Fields, but if you want something more in the way of rousing adventure rather than emotionally harrowing, this is a fine choice.

An ex cop tries to spend time with his dying wife during her final days, but a Yakuza loan shark refuses to leave him in peace. A typically understated marriage of violence and poetry from Beat Takeshi, Hana Bi examines loss and mortality in a deeply personal way. It shares many of the themes of Sonatine, but is not as brutally nihilistic; there is much warmth in the often wordless scenes with his wife which have far more humanity than the contrived schmaltz we are used to from most mainstream film making. Takeshi's laconic persona is taken to the extreme in this film as he silently deals with the loss of his child, his wife's illness and his guilt over his suicidal ex-partner's crippling injury, although he still manages to find humour with the use of some oddball supporting characters. In other words another typically brilliant and artful Beat Takeshi film.