Colin Kennedy

Star Wars really does begin here.

Dark and stormy, even gloomy, this is a distinctly autumnal blockbuster from the man who invented summer.

As soon as Howard steps up to the mic, the movie crackles to life.

While not quite the war movie that many of us were hoping to see right now, Mendes’ dispassionate take on the first Gulf War has many merits, and it does bring vividly to life the peculiar dilemma of the modern soldier.

It's bad enough to ban on purely artistic grounds.

Witherspoon's June is a pistol - a sugar-rush of screwball energy and cornball Southern sass that's meticulously earthed with grace notes of sadness.

Demanding, even confusing at times, this is required viewing that requires your full attention.

Milk thoroughly deserves all of the press ink that will doubtless be spilt over it. Wear your 'Vote Penn' Oscar pin with pride.

Odd-number curse be gone. The most exhilarating Trek to date marks a new future for Kirk and co. If this can boldly go on to seek out ideas to match its speed and style, a franchise is reborn.

Building slowly from a stately start, Del Toro manages to unite all his disparate elements - ghosts and gold, infidelity and politics - for a devastating final reel. The command of sound and colour is breathtaking.

A simultaneuosly touching and harrowing experience that puts the audience directly in the shoes of one man's experience of Vietnam.

This is the film that the movie world had been anticipating since the man born Allen Stewart Konigsberg had signaled his raw comedic talents with mad-cap directorial debut, Take The Money And Run, nine years earlier. Marrying the free-flowing sketch form of those early comedies with real emotional and psychological depth for the first, and, arguably, most successful, time.

From Elmer Bernstein's sweeping dramatic strings - perhaps the first counterpoint score in comedy - to the gleeful mixture of low-brow and lower-brow gags, Animal House is arguably the most influential comedy of our time.

It’s arguably every bit as good as Stanley Kubrick’s Lolita.

Network is typical of the cool intelligence of '70s American cinema.

A key film from the movie brats-era, and quite possibly Milius best.

They say that great actors are never knowingly caught acting; Altman's best movies are similarly effortless - experiences to be lived in, rather than simply watched.