Alan Munro (munro82)

Alfred Hitchcock invites us to go "North by Northwest", on a stylish and expansive Cross-country pursuit, from New York to South Dakota. We joyously trail Cary Grant through a series of memorable scenes and iconic set-pieces, danger looming ominously over our hero, as a case of mistaken identity implicates him as an unwitting player in an international cold war - inextricably entangled with refined villain, James Mason.

Each dazzlingly staged episode is a disparate fragment of an exciting and colourful collage, punctuated by interludes of protracted suspense, providing the raw material for an exhilarating and flamboyant composition, assembled by the hands of the master and his fellow craftsmen.

The stand-out moments of this diverse artistry are the crop-dusting plane attack and the climactic chase across the faces of Mount Rushmore. The former is a visual treat, as the glorious panoramic images capture the plane swooping down from the glaring sun, like a bird of prey, chasing our stranded hero across the dusty wilderness of Highway 41. The latter is equally spectacular, boasting searing tension that is balanced on a knife edge, as precarious as Cary Grant and Eva Marie Saint dangling from the face of the famous monument.

"North by Northwest" is yet another fruitful collaboration between Hitchcock and regular composer, Bernard Herrmann; the latter scoring a lively commentary on the elaborately plotted action, beginning with a boisterous overture that sets the tone for a bold and dynamic adventure.

The sprawling script by Ernest Lehman is lightly humorous, brimming with snappy and sophisticated dialogue that is justified by the charismatic Grant, who is particularly enjoyable during the steamy train journey, when he first encounters the elegant seductress, Saint. We are treated to sizzling chemistry between the two charming leads, both eagerly getting their mouths around Lehman's suggestive words.

"North by Northwest" is a rip-roaring thrill ride, relentless from the opening flourishes through to the very peculiar finale - from mortal danger to wedded bliss in the blink of an eye.

The 'Cinderella' story of the Italian Stallion, Rocky Balboa, continues to land spirited jabs at adversity in the second round of the thrilling franchise.

The golden glow of Oscar shone favourably on 'Rocky' and now 'Rocky II' picks up the baton from its multi award winning predecessor by revisiting the climax, rousing the watching crowd into an eager anticipation of a sensational rematch.

Sylvester Stallone takes over directorial duties from John G. Avildsen, assuming complete control of his creation and spinning a fabulous yarn that both preserves and celebrates the fairytale themes of the first movie. Stallone handles proceedings with a dedication and passion befitting his Philadelphia slugger, showcasing his flourishing creative talents with a barrage of emotional twists and stimulating blows, intensified by the inspired use of slow motion during the boxing sequences.

As writer, Stallone does not simply repeat the formula that brought him success first time around; he evolves his characters by continuing the journey from zero to hero, through continuously altering circumstances.

Stallone begins his first act by answering the question lingering on everyone's lips after the phenomenal success of the first movie, what happens next? - Building upon the emotional platform established in 'Rocky'.

The second act is slightly laboured, occasionally veering towards convoluted melodrama. However, it is rescued from the brink by an exhilarating third act that culminates in a tense and spectacular finale, as Rocky and Apollo Creed go head to head once more in an explosive showdown.

Bill Conti reprises his inimitable music score from the first movie and reinforces it with powerful new arrangements, creating a score of incredible dramatic weight that accentuates the mood throughout the peaks and troughs of Rocky's turbulent life. However, the triumphant essence of Rocky is encapsulated by Conti's dazzling training montages, which stir you into a vigorous frenzy of excitement that is a blazing symbol of the magic of movies.

'Rear Window' is the pinnacle of Alfred Hitchcock's distinguished career and one of the finest cinematic achievements ever to grace the silver screen. "That's a secret private world you're looking into out there. People do a lot of things in private they couldn't possibly explain in public." "Rear window ethics" come under the intimate glare of the zoom lens in this voyeuristic thriller, when a wheelchair bound James Stewart observes a medley of private dramas unfolding across the courtyard. Each is a disparate plot thread woven around the principal themes with imperious craftsmanship and witnessed by a subjective camera that serves as a gateway into an inextricable tapestry of human behaviour. The ever reliable Stewart brings a touch of class to proceedings, impressing his considerable presence and talent to convey a vulnerability to his cynical character. He is matched in his efforts by a sterling supporting cast, including the acerbic Thelma Ritter, sophisticated Grace Kelly and laconic Wendell Corey. The chemistry between Stewart and Kelly is wonderful, crackling with entertaining interchanges, but Ritter and Corey also get in on the act, delivering sly black humour that offers light relief to a dark tale. However, the name of the game is suspense and Hitchcock is the consummate master, gleefully playing the audience strictly to his rules. He and his crew have shrouded the movie in a sinister ambiance that gradually takes hold, smothering the playful humour with fragments of morbid intrigue, like pieces of a puzzle that form a frightening image of depravity.

The Matrix is a revolutionary movie that blends a challenging and inventive story with cutting-edge visual effects, all combining to create a flowing and exciting masterpiece of modern cinema.