First, the inevitable: Toby Jones is Capote, PSH is PSH doing Capote. I prefer Infamous, overall. The greater artistry and atmosphere - as if the people are characters in a work by Capote - draws out interesting performances and human truths. Bullock's statement at the end about Harper Lee's artistry is kind of heartbreaking: "We want everything you have, and we want it as fast as you can turn it out."

So vibrant in I Wake Up Screaming. What a loss.

One of the best American coming of age films.

Sherry Lansing used to greenlight movies like this by the bucketload, but other than one or two releases every year, these kind of dramas are relegated (a poor term, as the best of them are great) to TV. The Lincoln Lawyer was pure popcorn with not a superhero in sight. I loved how Los Angeles looked. ldeally this will turn into a franchoise and a few more crime novels will be adapted to film.

I was in love and in lust with Chris Cooper when I first saw Lone Star.

My favourite late-era Ivory film. From baby Jesse, Leelee and Virginie, to Isaac, Jane, Kris and Barbara hitting it out of the park, it's entirely a pleasure.

It's not all bad, really. But I have a serious complaint of Naomi Watts. I don't care how self-pitying you are after your husband has left you: no one who has Jean-Marc Barr gazing on her so adoringly for 60% of the screen time has any right to look so mopey!

One of Brando's top 2 or 3 films *and* performances.

I love me some BBT. He's one of the best 2 or 3 American actors of his generation. No matter the film, he performs with integrity.

Best actor on TV right now. He plays these broadly written, pitifully stereotyped characters and makes them flesh-and-blood and complexly human.

Amy Wright is fucking genius. And Brad Dourif nailed Hazel Motes (Walton Goggins for a remake?) And you can't got wrong with Ned or Harry Dean. Just brilliance all around.

Debauched Liz *and* Joseph Losey? I must see this!

Another great film by Robert Mulligan of the coming of age of a young girl, this time personally, rather than politically.

The ultimate hot blonde. No coquette she who begs men to love her, and cute only superficially. Tuesday Weld is the possessor of a direct and powerful sensuality she wields for herself alone.

I saw this when I was 16, and got a masive crush on Sam Rockwell's character. Somewhat disturbingly, I was far closer to the age of Mischa's character at the time! Still, it's a good little film, and I loved the fairy tale elements and the bonds of friendship.

I hope he makes some more movies soon. He has a singular vision, and a couple of his films are among my favourites.

When did I start loving classic movies? When I saw Rear Window as a child, snowed in on a ski holiday. Thank you, Hitch.

Marnie one of my top 2 or 3 Hitch films. It's dark and pulpy and funny and unsettling and it doesn't take itself too seriously. So much better than the po-faced Black Swan bunkum that everyone loves. Tippi is brave and brilliant (I'd love to see Naomi Watts in the role), Connery was never sexier (dredging the depths of his sadistic carnality that Bond takes for granted) and Diane Baker has the best hair ever.

Pygmalion retold in the most human way possible - as a genuine love story. Swank is transcendent as she creates the purest pleasure in her small life through her sheer will. But, her story supports that of Frankie and Scrap, muddling through their lives and try to redeem what is left of their failures. M$B is the very best of the past decade of a very underrated and misunderstood genre - the melodrama.

I vastly prefer this to Babel or 21 Grams.

Naomi's complexity left me astonished that her character and dialogue was written by a man. Her relationship with SLJ was perfectly represented - a guilty sexual game, leading into a friendship of genuine respect and responsibility which resulted in her character acting (possibly for the first time in her life) with the best interest of someone other than herself. Rodrigo Garcia knows women. Brilliant.

Norbit is the film that lost Eddie Murphy his Oscar. It's actually not as bad as that. It is not good, but as a stupid American comedy of its ilk, it is one of the better ones. Amid the scatology and grotesquerie, there are a some sharp lines, the character of Norbit is very likeable, and the actors deliver. I don't recommend it as such, but I had to say that the reputation of Norbit as irredemable is exaggerated.

We'll always have Ruby In Paradise, Heat and Bug, Ashley. Hopefully she works through her psychological health and is able to work with a great director and a great script again.

One of the best 2 or 3 contemporary film actors going, in any language. Yes, he's that good.

The weakest of the three. The messiest script (seriously, the Sean Bean character? And seriously, Sean Bean? I love him, but he was way miscast) and the awfulness of Andrew Garfield's hair, Rebecca Hall's Acting With A Capital A, and most of all, the only film to have a hack director. But none the less, it's always worth a look.

Easily the best film in the trio. Best leading character (Paddy is a genius), best blond woman (am gobsmacked that Rebecca Hall got a BAFTA) and most sensible direction.

Love The King - an encroaching, dark fairy tale. His part of Red Riding Trilogy was easily the best. His documentaries are superb, but I hope he keeps up the fiction output as well.

She's this generation's gold standard.

I would *love* to hear this in Ukrainian

Yul Brynner's animal magnetism makes a sensual Karamazov extraordinaire. Albert Salmi as Smerdyakov and Claire Bloom as Katya also excel and similarly bring the essence of their characters on screen. William Shatner and Richard Basehart have somewhat difficult roles cinematically, playing in turn spiritual and cerebral men, but if not the "dream" rendition of Alyosha and Ivan, are still fine.