gb (Level 22)

Simply an epic Kubrick masterpiece. Modern sci-fi films and cinematographers can only hope to equal the greatness that 2001 reaches. The graphics and special effects for 1968 are just incredible and almost unbelievable, and the music is still totally unmatched. Plotwise, I still have little idea what it is truely about, save for the evolution of mankind. Not really a film to watch and enjoy in a typical sense, since there is no dialogue whatsoever for the first and last 20 minutes, and what plot exists is sporadic at best. Instead, this is something you should watch for an aesthetic and cultural appreciation. Even after multiple viewings, this film still continues to astound my mind.

The best psychological horror film of its time (and maybe ever), The Shining has not lost any of its tense, creepy, disturbing atmosphere and drama. The complimenting musical score is also the best of its kind, and to date the best film score I have heard. Jack Nicholson is definitely on fine form as Jack Torrence, an average family man slowly going insane whilst trapped in the snowbound Overlook Hotel with his wife and son. Although Shelley Duvall is rather irritating at points, everyone else, including minor characters such as the devilish bartender Lloyd keep the pace tight. Kudos must also go to Danny Lloyd, who despite his age manages some very convincing acting. Credit should also be given to the set designers, who created the massive, forboding interiors of the hotel from scratch. "My daughters didn't care for the Overlook at first, but I corrected them."

"O Captain! My Captain!" Robin Williams puts in probably the finest performance of his career in this enduringly inspiring film about fulfilling your potential. The acting from every perspective is flawless, the plot is both emotional and thought-provoking. It all combines to present something uniquely memorable, and will make you want to seize every day.

"Have you got a 27B/6?" Brazil takes totalitarian Orwellian-style bureaucracy to the highest and most surreal level. The story begins when an insect accidentally falls into a teletype printing machine, causing a mix-up in several arrest warrants, which everyman Ministry of Information employee Sam Lowry (Jonathan Pryce) must then attempt to sort out. Highly Kafkaesque in nature, visually amazing, hilarious and poignant in equal measure, it is truly unique in all respects. Alongside the brilliant Pryce, some of the secondary cast are also excellent , such as Ian Holm as the worried Mr. Kurtzmann, and Michael Palin as the slightly sinister Jack Lint. the set design and cinematography are also revolutionary, with the grimy, malfunctioning world the characters inhibit begins to fragment. Terry Gilliam refines some of the themes he had experimented on within Time Bandits here, and the film is better for it. There are some stand out scenes: Sam eating lunch with his mother, as well as the famous panning flyover of the chaotic Department of Records. Whilst it may be slightly too long with a rather ragged plotline here and there, acting on almost all fronts (apart from Kim Greist) is great, with both Robert De Niro and Bob Hoskins making some interesting cameos in several places. Prepare to be both amazed and confounded, as little here makes any cogent sense, but it is great all the same. This is both a dreamscape, and a nightmare in one.

One of the greatest films of all-time, Nicholson probably puts in what is the best performance of his career, and so does Fletcher as the terrifyingly efficient Nurse Ratched. The secondary cast, such as Harding, are also mesmerising. Though the novel centres more on the Chief and comes from his perspective, you still won't be disappointed with this almost flawless transition to the screen.

Network might just be the most prophetic film ever created. The world it creates and imagines; one where television ratings are sold as gospel and the world of real emotions is essentially forgotten, looks frighteningly like the one we are living in today, with our 24-hour rolling news and corporate-controlled media networks. In 1976, some called the film over-the-top and unrealistic, yet an examination today shows that this is a film which delivers all of its realism with a hard punch of satire. Network is both a darkly amusing tale about the limits of television, but also a shocking indication of how society is continuing to amuse itself to death.

At heart, Pleasantville is something a whole lot deeper than it first appears to be. Two teenagers are transported within the ideal suburban tranquility of a classic 1950's TV sitcom; a town where it has never rained, the local Fire Department exclusively rescue cats, and everything is in stark monochrome. However, as Maguire and Witherspoon begin to introduce the various joys, sins and corruptions of real life to the townspeople, everything starts to turn various shades of glorious Technicolor. The entire cast put in some great work here (notably Maguire who actually isn't wooden at all), with the best performances mainly coming from the supporting cast trio of Macy, Allen and Daniels. The cinematography is also breathtaking, with incredible use of colour playing a critical role. With overtones regarding issues such as racism, social conformity and free thought, Pleasantville shows us that even perfection is far from perfect.

One of Dustin Hoffman's most iconic and defining roles, he is perfect in the role of the insecure and lost graduate Benjamin Braddock, as is Anne Bancroft as the quietly icy Mrs Robinson. Hilarious, embarrasing and yet memorably sweet, the excellent Simon & Garfunkel soundtrack combined with some clever cinematography provides the perfect accompaniment.

Based upon the life of newspaper magnate William Randolph Hearst, the story of Charles Foster Kane is epic, moving and extremely remarkable. Pioneering cinematography, spellbinding acting and a magnificent script combine to put forward a simple message: we only have one life, and we had better use it wisely.

The Shawshank Redemption is one of the pinnacles of moviemaking genius, with subject matter encompassing morality, punishment, religion and society. It should be considered a crime to not watch it.

An utterly fantastic film simply about finding some meaning and purpose in the trials and tribulations of every average hundrum life, which assesses it all without pulling any punches. All of the actors are excellent, though of course Spacey must get credit for his spot-on narration. The plot itself has a slightly "Magnolia"-ish feel by not focusing on one thing in particular, and both the orchestral score and soundtrack are perfect. A film which really does make you "look closer".

To be frank, this is the greatest of the Indiana Jones trilogy, thanks to the great screen relationship between Jones Sr. and Jr., who work together perfectly. The secondary cast is also wonderful. The film is hilarious, high-tensioned, and is also a rip-roaring adventure with brilliant action sequences to boot.

Easily the definitive jury room drama. The entire cast gives a rousing and epic performance throughout, with naturally Henry Fonda making the most memorable impression, to such an extent that today it is practically cliched to pretend to be his character when serving on a jury. The cinematographic techniques allow for the atmosphere to get slowly more palpably claustraphobic, until you practically feel like you are in there in the room.

Pscyho gets its kicks through a sheer sense of style, rather than through and through terror. Hitchcock does his proper duty in creating his typically unnerving atmosphere, and the Bernard Hermann's terrifying score over the opening credits and through the rest of the film helps to create the right mood. Undoubtedly Anthony Perkins became horrifically typecast because of his defining role here, but that is just testament to how incredibly good he is as Norman Bates. Whilst much of the secondary cast is merely medicore and the sudden, slightly unsatisfying ending doesn't really appropriately end the story, Psycho remains as one of the greatest thrillers of all-time.

Easily better than all three of the sequels, this is a brilliant action film that has yet to be topped. Alan Rickman is just superb as the sinister Hans Gruber, and Willis put in a top notch performance. The plot has style and panache, and the script is witty and memorable. This remains my favourite "Christmas" film.

I fell completely in love with Audrey Hepburn after watching this film, which comes as no surprise. The plot may be wild, half comedic and dramatic, yet it is still adorable. The cat is wonderful too.

Some Like It Hot has everything. For a start, it has the hilarious Jack Lemmon, the suave Tony Curtis, and the beautiful Marilyn Monroe. Admittedly the plot isn't the best, but it fits in well enough with the riproaring spirit. With an excellent primary and secondary cast, iconic moments and a classic finish, this film manages to keep you laughing because of its endearingly jovial nature.

Tarantino really does meet cinematographical perfection with this one. Pulp Fiction manages to transcend what it was originally intended to be, and has been taken to a whole new level. All of the acting, from all corners is fantastic and the script is incredibly memorable and highly quotable. In fact, the script is so good that even the small talk in this film is just brilliant. The soundtrack is also one which is going to stay with you for days on end. The plot itself quite crazy and fragmented, but not in a confusing way, which means it will always keep you interested. Whilst there are some scenes which probably could have done with being a bit toned down, the picture manages to weave humour and violence together in such an effortlessly intricate web it is impossible for them to separate. In short, more or less every single second of the film is pure, unrefined gold, and you should treasure it lovingly.

The Indiana Jones Trilogy opens in fantastic form, with an assortment of memorable characters, a barrage of excellent stunts and effects, a ripping plot, and a world-class musical score. Harrison Ford is naturally awesome as Dr. Jones, but the picture has such presence and style overall, that it has rightfully assumed a top place in moviemaking history.

Hilarious, and yet at times extremely moving, Forrest Gump features countless references to 20th Century American history as shaped by the character of Forrest, and overall is as varied thematically as a box of chocolates. Hanks is incredible, as is Gary Sinise, and the special effects are so well done, you hardly notice them at all.

"Rise and Shine campers, and don't forget your booties 'cause it's cold out there today!" To start with, the concept of Groundhog Day is interesting enough: Weatherman Phil Connors is trapped on February 2nd, forced into reliving the same day ad infinitum. Nobody else appears to realise that time is repeating, which makes the situation all the more desparate for Phil. Put that concept together with excellent acting from Bill Murray (though Andie MacDowell is occasionally annoying) and you have a film which is heartwarming, funny and meaningful. The ultimate tale of self-improvement, and learning to make each day count.