Search: Starring Harry Dean Stanton

Scott wrings out every last drop of suspense from the film.

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

Cassavetes could easily have made all this into a dead serious finger-wagging morality tale of wasted youth. Fortunately, he realises the potential for jet-black comedy.

This movie scores well on the quirky British movie scale.

Bertrand Tavernier’s 1980 curio Death Watch remains a chilly and enigmatic film, one which is hard to love but not hard to admire.

Undeniably watchable.

The nature of Harry Dean Stanton means that no documentary is ever going to get underneath his skin, yet director Sophie Huber does manage to crack his defensive wall on occasion.

Imagery and sound are so closely wedded throughout that at times it seems meaningless to distinguish between the two.

Deadpan absurdity, everyday madness and enlightenment through routine merge in an attempt to answer the big questions of life.

Potter manages to imbue Suzie's story with a feeling of anticipation, as if her life is fresh and innocent.

The film is soft to the core, deeply sentimental and too politically correct for its own good.

The performances are generally solid, the soundtrack and visuals wonderful and the ambition is vaulting, but it is ultimately a failed experiment.

German director Wim Wenders allows Paris, Texas to unfurl with such assured calm that each delicate narrative revelation, no matter how trivial or terrible, seems a natural and almost obvious progression.

Having laid the foundations for a tense, realistic thriller, using documentary footage wherever possible, Sean Penn blows it with unnecessary camera tricks.

Pretty In Pink is an iconic film which made its mark largely through astute use of music and a real awareness of what was then going on in teenage fashion.

It is admirable that Verbinski has chosen to forgo 3D, as the spectacle he conjures in his various set-pieces is enough to have you ducking and diving already.

If late punk era filmmaking was all about style over substance, Alex Cox's seminal work has buckets of both.

Richard Farnsworth gives one of those performances that redefines the use of the superlative.

Funny, moving and endlessly surprising.

Low-budget charmer shows a different side and range to Owen Wilson.

The meandering pace can get tedious at times, but cinematically it's a masterpiece.