An elderly retired music teacher suffers a stroke, which begins a process of physical and mental deterioration. Her loving husband devotes himself to caring for her at home, but faces a series of hard decisions as her condition worsens. Oscar-winning drama, starring Jean-Louis Trintignant, Emmanuelle Riva and Isabelle Huppert. In French and English.
In one of the truly great later Hitchcocks, James Stewart plays a retired cop with a terror of heights who's hired by Tom Helmore to follow his suicidal wife, Kim Novak. Stewart falls in love with the enigmatic blonde, but can't prevent her falling to her death. Some months later he spots a woman (also played by Novak) who bears an uncanny resemblance to the dead woman, and is drawn into a web of deceit and obsession. Novak gives her greatest performance in a demanding dual role, while Stewart shatters his all-American Mr Nice Guy persona with a disturbingly dark and complex characterisation. A hallucinatory movie - the glistening San Francisco locations give both place and events a dreamlike quality - this remains one of the most painful depictions of romantic fatalism in all of cinema.
An American student is arrested for drug smuggling while on holiday in Turkey, and thrown into a prison ruled by a sadistic warder. Meanwhile, as his family and the US government plan an appeal, he begins to plot his escape. Alan Parker's fact-based drama, starring Brad Davis, John Hurt and Randy Quaid.
In a future ravaged by war, the superhero team makes a desperate last stand against a force of deadly robots. Their last hope is to send Wolverine back in time to the 1970s, to join forces with an earlier version of the X-Men and change the events that started the conflict. Superhero adventure sequel, starring Hugh Jackman, Jennifer Lawrence, James McAvoy and Michael Fassbender.
A civil engineer assigned to build a railroad through the South American Andes causes friction when he refuses to work on a proposed tunnel through the mountains. He eventually gets his own way, and it looks as if he and his arrogant employer will settle their differences - until the engineer falls for his boss's daughter. Romantic drama, starring John Wayne, Cedric Hardwicke, Laraine Day and Anthony Quinn.
This first-class cavalry western from director John Ford contains some of John Wayne's finest screen moments. Wayne is marvellously in character as retiring commander Nathan Brittles, a performance that even those vehemently anti-Wayne, and all he stood for, feel forced to admire. This is one of the great Technicolor movies, justly winning an Oscar for cinematography that expertly captures Ford's favourite Monument Valley locations. There's also a stirring, majestic soundtrack and a mighty fine supporting cast that includes Ben Johnson, Harry Carey Jr and the lovely Joanne Dru - ignore the slightly ludicrous Irish whimsy involving Victor McLaglen. This is a deeply satisfying work by one of cinema's greatest film-makers.
A man haunted by a tragedy he caused seeks redemption. Assuming his tax inspector brother's identity to gain access to people's private records, he sets out to atone by helping seven seemingly unconnected strangers with their problems - only to fall in love with one of the people he assists. Drama, starring Will Smith, Rosario Dawson, Woody Harrelson and Barry Pepper.
A mine owner investigating the death of her foreman discovers a criminal and his gang have taken over the mine and are using it as a base of operations for their counterfeiting scheme. However, two undercover agents are on hand to foil their plan. Western, with Rex Lease and Dorothy Gulliver.
Amorous medic Simon Sparrow tries to sort out the romantic problems in his life - but has the added complication of playing Cupid for his pompous boss Sir Lancelot Spratt. Hospital comedy, with Dirk Bogarde making his last appearance in the role alongside James Robertson Justice, Samantha Eggar, Barbara Murray, Donald Houston and Mylene Demongeot.
The first of a marvellous series of movies pairing star James Stewart and director Anthony Mann, this western doesn't really tell the tale of "the gun that won the West". Instead, it focuses on the legendary "one in a thousand" perfect Winchester, seen here as a prize in a Dodge City shooting contest where Will Geer, as Wyatt Earp, presides over sharpshooters Stewart and a brilliantly sneering Stephen McNally. This is a fine, mature work: adult, intelligent and moral, creating a laconic new persona for the admirable Stewart. The brilliant black-and-white camerawork is by Garbo's favourite, William Daniels, and Mann's use of transition (dissolves, fades to black) is exemplary. Also, watch out for a pre-stardom Rock Hudson as Young Bull, and an even younger Tony Curtis as a cavalry trooper.
A military captain is assigned to investigate a revolutionary movement in 19th-century France. A key member of the uprising is an aristocratic woman leading a double-life as a masked vigilante, and the officer is caught in a battle of wits with her for possession of a sword that is the key to finding a lost treasure. Swashbuckling adventure, starring Rita Corday and George Montgomery.
A female assassin wakes from a four-year coma and promptly sets out on a campaign to wipe out her erstwhile colleagues, who tried to kill her at her own wedding - one of whom is now the kingpin of the Tokyo underworld. The first part of Quentin Tarantino's two-part martial arts thriller, starring Uma Thurman, Lucy Liu, Vivica A Fox, Daryl Hannah and David Carradine.
Writer/director M Night Shyamalan has fashioned a modern classic here, a chilly, intelligent, emotional ghost story that relies not on the obligatory gore and knifeplay for its many shocks but on glimpses of an afterlife that's anything but angels and harps. Bruce Willis plays it quiet and reflective as the child psychologist attempting to get inside the head of the young Haley Joel Osment, who sees dead people "all the time". Toni Collette (Muriel's Wedding) is equally convincing as the boy's troubled mum and, though the film's initial impact hinged on chatter about its knockout twist ending (the sort to have you buying another ticket), in truth it's the controlled pace of Shyamalan's direction and the simplicity of his storytelling that make it so rewatchable.