Marc Lee

Klaartje Quirijn’s engaging film portrait of Dutch rock-photographer-turned-filmmaker Anton Corbijn goes a long way towards explaining the emptiness and isolation that characterise his work

Reminders of Shaun of the Dead (2004) abound. However, an endearing cast...and a satisfying mix of gore and gorblimey charm more than compensate.

Few film directors can resist the urge to "open out" a story, to broaden the view and bring in as wide a variety of sets and locations as the narrative - and budget - will allow. The genius of Sidney Lumet's astonishingly powerful 12 Angry Men is that he does exactly the opposite: he takes an already small, claustrophobic space - a jury room - and makes it even more confined.

It is mystical, daring, poetic, thrilling, appalling and never less than utterly mesmerising.

As Mulligan so deftly demonstrates, the story is in the characters, their failings and fragility, their heroism and nobility of spirit. It's in the depiction of heart-breaking cruelty and heart-warming humanity. It's in the innocence of a child's world overshadowed by the evil that adults do.

Film noir is the most intoxicating of Hollywood cocktails, and none is more potent than Double Indemnity...It breaks the rules of filmmaking with breathtaking confidence and is all the more satisfying for

It's hard to imagine now just how astonishing it was to interrupt the action with a sun-lit frolic on a new-fangled bicycle as the whimsical Raindrops Keep Fallin' on My Head burbles away in the background.

Mercifully, The Philadelphia Story then transmogrifies into one of the smartest, sassiest - and sexiest - movies ever.

A black comedy, really, based on Patricia Highsmith's source novel - remains a cracking piece of entertainment. It is shot with all his usual invention and style, and a couple of scenes rank among the director's most visually memorable.

Any movie that lasts three hours should have a damn good reason for lingering so long. At 182 minutes, Michael Cimino's Vietnam War epic is timed to perfection.