WC Fields and Mae West

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Max Schreck as Nosferatu

Nosferatu

Murnau’s 1922 silent expressionist classic is one of defining moments in movie-making. It borrowed its story wholesale from Bram Stoker’s Dracula, gave it the lightest of resprays and hoped no one would notice the theft.

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Eraserhead

      David Lynch’s first full length film was made piecemeal between 1971 and 1977 and is the perfect visual accompaniment to an era obsessed with industrial decay – check out the music of

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Jason Statham and Brad Pitt in Snatch

Snatch

    Two years after Lock, Stock and Two Smoking Barrels, Guy Ritchie returned with a film that looked, felt and almost smelt the same. Except this time around the story is about bare-knuckle fighting

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Ryan Phillippe and Benicio Del Toro in The Way of the Gun

The Way of the Gun

    Having written The Usual Suspects, Christopher McQuarrie’s directorial debut was always going to generate a lot of interest. It also, when it finally did arrive five years later, generated a lot of disappointment,

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Kristen Cloke, Devon Sawa and Kerr Smith in Final Destination

Final Destination

    Remember The House of Wax or The Abominable Dr Phibes and the highly elaborate ways Vincent Price would off his victims? Films in the decades that followed had budgets running into squillions, yet

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Antonio Banderas

The 13th Warrior

    A real proper old-fashioned Sunday afternoon film – epic in intention, ludicrous in execution. Considered to be unwatchable when it was test-screened, it was partially recast, rescored and reshot – by Michael Crichton, writer of

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Robert Downey Jr, Michael Douglas and Tobey Maguire

Wonder Boys

      Michael Douglas plays the college prof with one book under his belt and a smart-ass student (Tobey Maguire) about to steal his thunder with his debut novel, which is going to be

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Paris, dawn, August, in the long hot summer of 1976

C’était un Rendezvous

      The story goes that after wrapping on a film starring Catherine Deneuve, having come in under budget and with a day of shooting time left, as he often managed, director Claude Lelouch

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Far from Heaven

    Todd Haynes wasn’t the first director to pay homage to Douglas Sirk, creator of teary melodramas such as Magnificent Obsession and Imitation of Life. Fassbinder had had a go with Fear Eats the

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