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Monsters, magic and mayhem. Perseus fights mighty mythical menaces on a quest to win the heart and hand of Andromeda. The best collection of movies wallpapers for your desktop and phone devices Archive the Best Hollywood Movies. Sod the effects. The Dogme manifesto is perfectly applied in this lean story of dark family accusations at dinner.

Stripping everything back to its bare bones pulls focus onto the smallest action. A ruthlessly efficient thriller, and proof that no-one makes crime movies quite like the Coens. How many other directors could make an assassin in a Delia Smith wig terrifying? Familiar territory for Besson, but made into something special due to a certain child performance It clearly takes a lot to get people past that prejudice, but, by recolouring the action in Mexican kitsch and filming with the frantic energy of infatuation, Luhrmann managed it.

He made Shakespeare cool, reminding us that this is a story about teens in love, defying their parents and picking fights. His interpretation opened the way for Shakespeare productions both more faithful to the original text and more outrageous in their staging. Bleak and brutal, the iconic and archetypal Brit-grit thriller retains a grubby authenticity. Julianne Moore is a woman who could be allergic to her environment A Russian cine-poem meditating on maternal love, the transience of existence and the bonds of time.

So unconcerned with Western tropes of glamour, excitement and gunfights, and yet one of the most engaging portraits of frontier life on celluloid Like Mr. But in French. And without Rowan Atkinson.

Except it has holiday in the title; give us that. Can you remember all seven? Get a piece of paper and write them down. You will get six, unless you cheat. Go on, do it.

Melville recounts everyday heroism and horrors in a unique World War II thriller. Feels true because it is. Can you imagine such a thing? Then go see it for yourself. While Lorre provides a horribly sympathetic focus for the film, Lang shows how his crimes affect the entire city — even prompting professional criminals to track him like an animal through the streets after Beckert draws an inconvenient police presence.

A whirligig of song, dance and romance. The skill with which Luhrmann stitches together bizarre but effective cover versions of pop classics is extraordinary; the shock is still the way that Kidman and McGregor anchor the theatricality with emotion. I'd like to hear about it. Remakes are often infernal affairs — this one literally so, smartly casting Jack Nicholson as a mobster Mephistopheles in a picture that finally snagged Scorsese an overdue Oscar.

Not because of the whole unfortunate onanism-with-a-crucifix incident. Or the extreme profanity. Or the pea soup Christopher Walken is a vampire; vein-draining is a drug metaphor; Abel Ferrara is an art-house and exploitation auteur. The Pythons originally intended to skewer Christianity — until they read the gospels and decided "we have no quarrel with Mr. Their second feature actually eviscerates religious bigotry and hypocrisy.

And is funny as hell. Action at its most extravagant and impactful, triggering an Eastern influence on Hollywood. Apologies, but Empire is legally obliged to note its spectacular "bullet ballets".

The "magic bullet" monologue — delivered masterfully by Kevin Costner — obliterates the Warren Commission. You better believe it. Jeunet's perfectly pitched little charmer is one for wistful romantics everywhere. It also offers an object lesson in how to be a better person. To wit On an increasingly desperate Sunday, trailed by his young son, he tries to get the bike back. The climax still makes strong men cry buckets Gay love story, end-of-the-trail Western, auteur work from Lee, faithful literary adaptation and showcase for two hot male stars of Not bad.

Hanks beautifully plays Josh as a kid playing an adult, never losing sight of the childish delights and insecurities of being young. These days, he may specialise in everymen under enormous duress Cast Away, The Terminal but here he is deft, light-fingered and ultimately extraordinarily moving. Imagine National Lampoon doing H. Lovecraft, with a hit theme song.

With recent events in Iraq, the relevance of Paths Of Glory grows year on year. The film was banned in France until , yet is far more anti-establishment than it is anti-war or anti-France.

Sometimes, war is swell. The great Clint cop picture, introducing soulless San Francisco dick Harry Callahan, only bearable because the guy he is after is even worse. Features the best badge-tossing since High Noon.

La Samourai is the figurehead of Melville's career, the story a lone assassin Alain Delon whose rigid code is undone by the unforeseen arrival of love. It's a stalwart theme now, but no film has done it so sparely and tragically.

Roeg and Cammell fused sensibilities as much as gangster James Fox and rocker Mick Jagger do in this acid-tinged freak-out. Nudie-filmmaker Meyer runs riot with a studio budget, assaulting Jacqueline Susann's trash novel with demented brio and kookily square psychedelia.

A quiet, careful, affecting adaption of Harper Lee's nostalgic novel. Robert Duvall made an unforgettable debut as neighbourhood bogeyman Boo Radley.

One of the best sequels ever, it has more action, spotlights fresh new characters while taking the established ones into new territory, and discovers something tragic in a child growing out of toys. One of the darnedest films ever made, and a template for the who-cares-if-it- makes-sense-so-long-as- it's-funny? A confident, complicated epic following decades of criminal life in a Rio de Janeiro favela, this is considerably more than 'the GoodFellas of Brazil'.

Powell and Pressburger's least-understood, most magical film. Its story may be incoherent and 'unpleasant', but its characters and moods are unforgettable and endlessly mysterious.

Max Fischer Jason Schwartzman is the sort of kid every school has, but who was hitherto unseen in teen movies - a smart, semi-geeky boy who polarises the school by being at once disturbingly weird and a fashion leader.

Believing a man can fly is only half of it — Donner took a comic-book character seriously and came up with four different styles sci-fi, nostalgia, rom-com, special-effects action to reach the broadest demographic. That rare thing, a truly original thriller. Told backwards, a device which Nolan - already working with dark detectives and conjuring tricks - handles with flair.

Forget the no-place-like-home cop-out at the end and enjoy Judy's heartbreaking Over The Rainbow, the many classic characters and the "horse of a different colour".

One of the movies' greatest romances is understated and unconsummated. Writer Noel Coward camps slightly, but David Lean and the stars mean every perfectly enunciated syllable. Kassovitz's debut, and his moment of glory: a fantastically shot tale of friendship and violence on the streets of suburban Paris.

You'd never have guessed he'd go on to make silly Vin Diesel films A striking exercise in blasphemy, down to the sacrilegious recreation of Leonardo's Last Supper.

Dustin Hoffman makes a great statement for feminism by dressing up as a woman and realising that they don't have a great time in the entertainment industry. Arty, scary, sexy. An air of dread, unrelieved by the famous sex scene, paid off with one of the scariest serial killers in cinema. Goldfinger gets Sean Connery's away from the Cold War to play with gonad-targeted lasers, gilded girls, mad millionaires, killer bowler hats and Honor Blackman's Pussy. A brief feature, abandoned by Jean Renoir during the s but revisited and edited together after the War — a trifle, perfectly played and with a lovely, riverside feel.

Renoir claimed he made it solely to take close-ups of lead actress Sylvia Bataille. Ford's is to turn the Western into American poetry. An intelligent tale of misguided pride among a group of British POWs who have been co-opted into building a railway bridge for the Japanese army, this is Lean mixing epic visuals with true complexity. A new breed of cinematic killer who literally climbed inside your dreams, Freddy Krueger was a truly scary creation, with Craven riffing on almost Jungian fear of what sleep might bring.

It was a role that, quite rightly, won her an Oscar. Heartfelt comedy and biting social satire with Peter Sellers in his last role as Chance, a guileless child-man whose simple pronouncements on tending a garden are taken as profound insights into the nature of the world.

This has a strong shout as Blighty's best chiller. More a film about family than rutting on celluloid. Yes, we are. A true British masterpiece. A thinly fictionalised account of the assassination of a democratic Greek politician in , Costa-Gavras' respected film takes a swipe at Greek politics and the military dictatorship that ruled the country.

Hitchcock's saucy for the time thriller stars Cary Grant and Ingrid Bergman, who excel as a government agent and a socialite who become entangled during an espionage operation.

While it was set during a period of extraordinary governmental strife, this Nixon-era satire is more concerned with the arena of sexual politics, as Warren Beatty's cocky hairstylist shags his way around the wives of the rich and famous. A difficult story told with suitable reverence, Pakula's tale of the ultimate Catch scenario may be difficult to watch, but it sure is rewarding. Not least for some solid-gold Streeping. I drink it UP! Blessed with a fierce talent for both war and words, his Cyrano is also cursed with a nose that precedes him by 15 minutes — so he dares not confess his love for the beautiful Roxane Anne Brochet.

While cinema history is chock-full of renegade types who love to buck the system, none are as cool as Luke. Paul Newman at his charismatic, blue-eyed best. Initially thought to be a costly folly, Costner put his career on the line for this frontier epic and was justly rewarded.

It is a Western, certainly, but also a romance between a man and an idea of lost America. The genius Wolfgang Amadeus Mozart is a bumptious rube, which is agony for the lesserly gifted but oh-so-aware composer Antonio Salieri. The Marx Brothers took their anarchic comedy to a whole new level with this delirious blend of physical foolishness and astonishing wordplay. It marked the end of their time at Paramount, but what a way to bow out. Fincher went from the man-who-ruined-the-Alien-franchise to the darling of shock cinema, with this extraordinary serial killer hit.

Fred MacMurray and Barbara Stanwyck plot murder, but Billy Wilder makes sure they suffer for it — with Stanwyck at her sexiest, crackling Raymond Chandler dialogue, and a perfect mix of scalding sunshine and the shadowed L.

Guillermo del Toro fuses personal and commercial interests with a tale of the power of fairy tale, even against the grimmest of political settings: the Spanish Civil War.

Lush historical adventure with Daniel Day-Lewis something between noble savage and a 17th century Rambo as trapper hero Hawkeye. Mann gets an authentic feel and real excitement out of canoe chases, woodland dashes, swooning romance, tomahawks, bloody scalping, and firework-display battles.

In Huston's steady, calloused hands, this Rudyard Kipling yarn becomes a rip-roaring adventure, its central buddy-buddy dynamic as entertaining as you could expect from the pairing of Brit stalwarts Connery and Caine. James Stewart's genial alcoholic talks to an invisible six-foot rabbit, but seems the only sane person in the film.

Harvey the rabbit entered pop culture, and Stewart rated this his best role - if not best film. Coppola, Murray and Johansson gain enough goodwill to sustain their careers through rocky decisions in this perfect almost-romance about a fading star and a neglected wife bonding in a Japanese hotel. A wholly delightful romp, with crisp '30s fashions and Scott Joplin's ragtime music setting off the '70s glamour of Redford and Newman as two arch-grifters pulling an elaborate con to get revenge on scowling Robert Shaw.

Arguably Peckinpah's masterpiece. Sequences of violence are interspersed with tenderly beautiful, melancholy moments, scored by Bob Dylan songs. Jean-Paul Belmondo cops Bogart attitude as a cool, vicious petty crook; Jean Seberg models a major haircut as his American girlfriend, and Paris just shines.

At once clever and exuberant. The first film to scoop the Oscars and the Chainsaw awards. A housewife cracks up and makes appalling, random verbal attacks on family and friends. The camera hovers so close that you emerge with an uncomfortable idea of what it must be like to live with this woman. Without this, no Shrek, no Enchanted. The only question is, how on Earth is this outside the top ?

A rare triumph of political cinema, depicting colonial oppression, terrorist strikes against civilians, Western occupying forces resorting to torture, and a general uprising without apparently taking sides.

Still vivid and relevant. Four losers drive trucks loaded with unstable nitro across treacherous jungle roads.

It takes a full hour to introduce its characters, before turning the screws unbearingly, twisting round hairpin bends, over rocky ground, and into oil slicks. Truly funny, truly cult: fans can mouth the words of Richard E. A beloved British oddity never repeated. The Coens in Dashiell Hammett gangster territory, recounting the near-tragedy of an honourable crook undone by a single gesture of mercy. Finney sees off hitmen with a Thompson while smoking a cigar and listening to Danny Boy in a bravura sequence of Coen magic.

Brooks invented scattershot movie parody with this cowboy outrage we get less grateful everytime a Meet The Spartans or Disaster Movie opens. Highlights: a classic theme song and the Ben-Hur chariot race of flatulence scenes.

A crazed Klaus Kinski brings opera to the jungle — by pulling a steamer over a mountain, obviously. Before Sunrise, ten years on. Celine Julie Delpy and Jesse Ethan Hawke meet again, briefly, getting another chance to talk about love.

How many sequels are made for artistic reasons and add meaning, rather than strip it away? A grimy border noir toplining Charlton Heston and Janet Leigh, but showcasing director Orson Welles in his greatest acting role as a gross, doomed, crooked cop who is still a titan hobbled by lesser men. Read into that what you will. A masterpiece among 'suffering peasant' films. Various farmers in Lombardy have a hard time, tinged by everyday wonder, as they work the land in the early 20th century.

Mike Leigh's favourite. Landis offers a still-amazing pre-CGI metamorphosis, observations on British strangeness, Jenny Agutter in the shower, nightmare Nazis and a witty set of moon-themed songs.

Repression and rebellion set in a mental hospital, adapted by Czech director Milos Forman with a cool, near-documentary look. Nicholson gives a key nicholsonian role, taking on softly-spoken sadist Nurse Ratched.

Banned on its original release, Renoir's cutting, supremely entertaining dissection of class and love the title refers to romance, as much as anything is just about perfect. A simple technical exercise — making a whole film in one room — is given ballsy bravura by Hitchcock as a terrific James Stewart witnesses a murder through his, um, rear window. For their sophomore effort, those versatile Coen boys swung from the stark chills of Blood Simple into screwball territory with this hyperactive comedy of apocalyptic bikers, serial robbery, infant kidnap, and the value of family.

A landmark in animation as beautiful and significant as Snow White. A droll and debonair Cary Grant slaloms between spy rings, suspicious blondes, mother issues and a psychopathic cropduster. Tarantino mixed noir staples with spasms of ultraviolence and a whirr of meta-dialogue where everything was game, from Madonna to The Great Escape, to create the pop-cultural movie event of the '90s. John Woo owes his career to this.

The triple-stranded climax is masterful. The sportos, the motorheads, geeks, sluts, bloods, waistoids, dweebies and dickheads all adore him, and so do we. Most horrors make their female lead the plucky, survivalist scream queen. Carrie stands out by making her meek, awkward and responsible for supernaturally charged mass-murder. Then again, this is Lynch, and definitions never stick. While the Orwellian influences are plain, the heart of this dystopian comedy is pure Gilliam.

Dig it. A black-and-white love letter to New York, Gershwin and the mess of relationships, this is Allen at his most poignant but funny. The sole behind-the-camera gig of character actor Laughton, a psycho-thriller shrouded in spectral majesty, with a mesmerising act of evil from another underrated actor, Robert Mitchum.

A coming-of-age classic crucial to the making of many of us, with one-time multi-genre master Reiner coaxing a wonderful performance from River Phoenix, and Stephen King providing the truthful source material. Interlocking lives and loves, the nature of chance, the unlikelihood of happiness More daring than Allen is usually given credit for. Its other alternative title? It Had To Be Jew.

Much more soulful and engaging than its arthouse rep suggests. A tender, tragic and transcendent picture of old age ignored. Watch it with someone you love. After he busted blocks with Batman, Burton broke hearts with perhaps his most personal picture.

The romance of a razor-fingered recluse is given irresistible internal strength by a breakout performance from Johnny Depp. Wonderful to see this bizarre, bittersweet love story in the top ton, with Ruth Gordon and Bud Cort soulmates separated by a mere, um, 60 years. Popular with readers, critics and the most unlikely of filmmakers — Cameron Crowe loves it — this ferocious thriller explores the appeal and futility of revenge. And how to eat a live octopus. The writer-director tears off the hand that feeds, attacking empty-headed and -hearted Hollywood with devastating satirical savagery.

A beautiful turn, too, from the forgotten man of the Golden Age, William Holden. Love it? You are not alone. Rat-a-tat-tat romance as Cary Gary and Rosalind Russell trade come-ons and put-downs at an extraordinary screwball pace, for a film as fresh now as it was — wow — 68 years ago Read Review. Its dark, complicated heart will confound and inspire you everytime.

Marcello Mastroianni looks better in sunglasses than anyone else ever and Anita Ekberg wades in a fountain in a spectacular evening dress, embodying the decadence Fellini so enjoys condemning. An '80s-nostalgia high-school movie with Lynchian atmospherics and a time-travel twist. A film to constantly revisit because it makes you think and feel while you try to figure out the nutty narrative.

Stephen King is largely ignored, as Jack Nicholson descends into a visceral hell of his own making, and, with astonishing visual power, Kubrick redefines the horror genre as he did with sci-fi and A film about a director who can't make a film, this mixes childhood flashbacks, doomed relationships between Marcello Mastroianni and gorgeous women, and Fellini's love of circus-style bizarros.

Kurosawa borrowed from Japanese history and John Ford Westerns to create this epic, amazingly influential picture. A long, complex build-up pays off with one of the movies' greatest battle scenes. How did this happen? How did a low-budget schlocker that made bugger-all when it opened in finally get its own Empire cover? Sam Raimi: young, brilliant and bursting at the seams with ideas for virtuoso camera moves and demented montages.

There's a gleeful disregard for convention throughout: the breakneck first five minutes remake the original movie. High gore factor: walls spurt blood, eyeballs land in mouths. The bit where Ash's hair turns grey. It's hugely influential ask Edgar Wright and Louis Leterrier. It's goofily hilarious - the possessed demon hand is a hoot. Its ending is perverse and Planet Of The Apes-perfect. Oh, and it has a laughing moose head. Every movie should have a laughing moose head. This - if you will - rockumentary founded a new mode of American screen comedy, and added more quotable soundbites to the culture than 20 seasons of The Simpsons.

Spielberg turns his parents' divorce into a magical slice of sci-fi as autobiography. Subtle kid performances especially Henry Thomas make a great animatronic creation even more affecting. Brando's Terry Malloy maybe a landmark in screen acting, but Elia Kazan's still stunning hymn to individualism set new levels of realism, finding enough gritty atmosphere and street poetry to power 1, episodes of The Wire.

Spielberg's Oscar breakthrough strives hard for its masterpiece status, with masterful work from Liam Neeson and extraordinarily complex villainy from Ralph Fiennes. If it had subtitles, you'd swear it were a Polanski or Andrzej Wajda film. The Coens' colourful take on Raymond Chandler's LA noir is the shaggiest of shaggy dog stories, and evidently Joel and Ethan's most enduring by a long shot. Jeff Bridges' White Russian-downing 'Dude' is an iconic hero.

An exemplar of British good taste built on corpses, snobbery and sex. Jean-Pierre Leaud is Truffaut stand-in Antoine Doinel, here an unhappy child taking refuge in the freedom of the cinema and the bleakness of petty crime. Thematically grim, but joyous moviemaking.

A mystery which takes such a sidetrack that the unmasking of the villain is an irrelevance. Beautiful Kim Novak is mysteriously haunted, while neurotic 'tec James Stewart turns worryingly obsessive. Mind-wipe the sequels from your brain, and recall the most significant science-fiction blockbuster of the turn of the millennium - even Keanu Reeves was cool, and the Wachowski brothers pioneered bullet-time.

Mann directs one of the best shoot-outs in the history of cinema and guides an outstanding supporting cast remember when Val Kilmer was this good? But the showstopper is simply two major screen actors — Al Pacino, Robert De Niro — facing off over a coffee. Yes, it has too many endings, but it fully pays off everything anyone could have wanted of a final act. A sci-fi slasher film. The cuddliest downbeat Western succeeds on canny miscasting.

Newman and Robert are dead wrong as ageing outlaws, but perfect as defiant youth. Where Ridley Scott was all about slow-building tension, James Cameron creates a whirlwind of pure panic and violence. Probably the most exciting film ever made. Is it yippee-kay-yay or yippy-kay-yay or yippy-ki-aye? The argument rages on and on. Has time finally caught up with it? Talked of with hushed voices and nodding heads by wise arbiters of film, for the non-acolyte it can feel like an enigma — a whopping cathedral of a movie, awe-inspiring, but too vast and ornate to love.

If the list embodies only technical prowess and thematic power then its demotion is a shock, but is it a friend for life? User reviews 1 Review. Top review.

This fine Italian remake of Ridley Scott's Gladiator lacks only ambition. Antonio Adamo's remake of the oscar-winning film Gladiator has a lot going for it. This may be the highest budget he has ever worked with, and much of it has gone to the costumes and sets. Unfortunately, while the script is competent, it lacks any real ambition.

This is particularly evident in the interaction of the characters. The scope of this feature produced at great cost and released in three volumes: Private Gladiator, In the City of Lust, and Sexual Conquest demands some largesse of artistic ambition.

Boundaries must be pushed; rules must be broken. Adamo's reluctance to stretch his boundaries along with his budget has prevented this project from rising above his earlier work. Details Edit. Release date October 16, United States. Gladiador 2: En la ciudad de la lujuria. Private Media Group. Technical specs Edit.