Bullitt (1968, Color) Steve McQueen’s definitive star vehicle, as a cop obsessed with getting to the bottom of a gangland rubout. Contains the best-known car chase sequence in movie history, in the suspension-busting streets of San Francisco.

Butch Cassidy and the Sundance Kid (1969, Color) Paul Newman, Robert Redford, Katharine Ross. Outstanding entertainment, with an effervescent blend of adventure, comedy, romance and nostalgia; the charismatic stars clearly had fun making this move. 4 Oscars – Story, Cinematography, Song and Score. Reflecting America’s mood at the time, it lost for Best Picture to the downbeat Midnight Cowboy.

Dirty Harry (1971, Color) Not every movie series creates an icon (Dirty Harry) and catch phrase (“Make my day”) recognized throughout the world. Described as right-wing fantasies when released, the Dirty Harry films were more mainstream than most detractors realized. Clint Eastwood’s gritty portrayal and the taut, highly professional production of this, the first in the series, are still imitated today.

Forbidden Planet (1956, Color) Walter Pidgeon, Leslie Nielsen, Anne Francis. Inspired by Shakespeare’s The Tempest, but don’t let that discourage you. This is one of the best sci-fi films ever, and can be enjoyed on various levels. Influenced many later movies and TV series, including Star Wars, Lost in Space and Star Trek.

From Russia With Love (1963, Color) Sean Connery. The second and, in many ways, best of the long-running James Bond series. Set in Istanbul, Yugoslavia and Venice, it features colorful location photography, a reasonably sensible plot, a modest secret gadget, and a believable villain. In the entire series, this may be the only film where Bond actually comes across as a spy and not as Superman.

Indiana Jones and the Last Crusade (1989, Color) Harrison Ford, Sean Connery. Not as original as Raiders of the Lost Ark, of course, but almost as good and much less frequently seen. It has more humorous touches too, with Connery’s deadpan delivery as Indy’s father, in the tongue-in-cheek allusions to the first movie, and in the revelations about Indy’s name and vocation.

Journey to the Center of the Earth (1959, Color) James Mason, Pat Boone, Arlene Dahl. Excellent production of the Jules Verne novel. Imaginative special effects, congenial cast, and persistent good humor place it among the very best fantasy-adventures ever made. Undeniably influenced later movie makers (do the rolling-boulder and flopping-lizard scenes look familiar?).

Peter Pan (1953, Animated) Today’s computer graphics can’t match the richness of 3-strip Technicolor and warmth of storytelling that went into Walt Disney’s films of long ago. This one epitomizes the genre, featuring adventure and romance, jealousy and betrayal, self-sacrifice and redemption, and unlike darker stories such as Pinocchio, Peter Pan is suffused with a wonderful sense that, the occasional pirate or crocodile aside, the world is basically a safe and nurturing place.

Emmanuelle 2 (1977, Color) It was the first Emmanuelle film that made Sylvia Kristel famous, but this one is better by far. Set mainly in Hong Kong, it explores pretty much the full range of conventional female erotic fantasies through a series of lengthy vignettes. Kristel looks good enough to eat, and Uberto Orsini cuts a handsome figure as well. Based on the books by Emmanuelle Arsan.

The Lover (1992, Color) Jane March and Tony Leung play a barely-teen French girl and her wealthy Chinese lover in French-colonial Vietnam. March’s rapturous expression in the sex scenes is a serious turn-on, and gave rise to the suspicion that more than mere acting went on during the filming. And there’s even a story, sort of. Quite explicit, not for prudes.

The Story of O (1975, Color) Captures the dark mood, the pervasive eroticism, and much of the philosophy of the classic underground novel by Pauline Reage. In the title role (“O” is the only name she is given), Corinne Clery surrenders herself to a secret society whose aim is to teach women the ecstasy of absolute submission and the pleasure of pain. Bondage, sado-masochism.

Two Moon Junction (1988, Color) Sherilyn Fenn and Richard Tyson. A Deep-South debutante and an itinerant circus-hand meet by chance, and neither their social differences nor her impending wedding can keep them apart. Fenn is achingly beautiful throughout, while Tyson is a genuine hunk. Nudity

Wild Orchid (1990, Color) Mickey Rourke’s Nine ½ Weeks is often cited as a soft-porn benchmark, but (except for Kim Basinger’s striptease) it doesn’t hold a candle to Wild Orchid, which is equally plotless, but includes some fairly spicy scenes. Rourke is suitably grungy, while Carré Otis is delectable as the young executive he introduces to his exotic underworld. Nudity

A Damsel in Distress (1937, B & W) Fred Astaire, Joan Fontaine, Gracie Allen. An American falls for the daughter of a British lord, while the castle staff make bets on whom the lady will marry. A spirited film adaptation of a book by prolific British humorist PG Wodehouse.

Bananas (1971, Color) Once upon a time, Woody Allen made funny movies that anyone, even non-New Yorkers, could laugh at spontaneously. This one, about a Jewish boy who gets involved with Latin American rebels, could be the best of them. Chock-full of sight gags, fast dialogue, and outright slapstick, with a little social satire thrown.

La Cage Aux Folles (1979, Color, Original French soundtrack with English subtitles) Ugo Tagnazzi, Michel Serrault. A gay couple run St. Tropez’s top nightclub and its transvestite stage show. One has a handsome son, the result of a one night stand with an actual woman. The son is about to marry the daughter of a politician from the league for Moral Order. The press smells blood. You can see where this is heading… In a lot of foreign films the humor is sedate or way over your head, but this movie had audiences around the world rolling in the aisles. We like it.

Cat Ballou (1965, Color) Jane Fonda, Lee Marvin. In a genre of its own, really, a western with a wild story, no good guys, and hilariously deadpan acting from the whole cast. Jane Fonda is at her most delectable, and though she doesn’t show an inch of flesh, for sweet-sultry sex appeal we’d choose this movie over Barbarella (the film she’s more famous for) any day.

Dead Men Don’t Wear Plaid (1982, B& W) Clever pastiche of clips from old movies interwoven into a Steve Martin spoof of the hard-boiled-detective genre. The old clips feature Vincent Price, Barbara Stanwyck, Alan Ladd, Veronica Lake, Ray Milland, Bette Davis, and other stars of yesteryear. Hilarious for vintage-film buffs.

How to Murder Your Wife (1965, Color) Jack Lemmon, Virna Lisi. A dedicated Manhattan bachelor suddenly finds himself married – and can think of only one way out. Lisi is mouthwatering and Lemmon is charmingly goofy as usual. A climax that underdog husbands will cheer for. Excellent example of a “battle-of-the-sexes” comedy.

Joyeuses Paques (1984, Color, In French, with Japanese sub-titles) Classic French farce, brought to you by masters of the genre. A compulsive philanderer’s wife finds him with a girl, whom he then tries to pass off as his long-absent daughter. Will be enjoyed even by non-French speakers – just read the facial expressions. Sophie Marceau is simply luscious, and her finely-judged insouciance contrasts nicely with Jean-Paul Belmondo’s manic energy. A must-watch for all fans of either star.

Pillow Talk (1959, Color) The first of several collaborations by Rock Hudson and Doris Day, considered fairly saucy in its time. Recalls an age when movie sex was innocent and fun. Engaging performances and an improbable plot, creating a style much-copied in the 1960’s. 5 Oscar nominations, won for Best Screenplay.

Some Like it Hot (1959, B&W) Tony Curtis, Jack Lemmon, Marilyn Monroe. Chicago musicians witness St. Valentine’s Day gangland massacre and escape by masquerading as female band-members. Director Billy Wilder’s finest effort. Non-stop action, sharp screenwriting and energetic performances. Monroe at her most breathless; great support from George Raft and Joe E. Brown.

Tampopo (1987, Color, In Japanese with English sub-titles.) Wrapped around a plot about the search for the perfect noodle soup, director Juzo Itami’s film spoofs everything from Evian spray-water to John Wayne. The main story line is confusing but amusingly inter-cut with food, sex, and food sex vignettes. Underlying it all is what might a good philosophy of life: Seek perfection in the commonplace.

The Pink Panther (1964, Color) Peter Sellers, David Niven, Robert Wagner. A high society jewel thief and his apprentice nephew go after the Pink Panther Diamond. Slapstick elevated to a high art form. The gorilla-goround scene is worth the price of admission. Created one of the silver screen’s best-known characters, the bumbling Inspector Clouseau.

The Producers (1968, Color) A Broadway producer on the skids (Zero Mostel) and his enterprising accountant (Gene Wilder, in his first starring role) hatch a scheme to oversell investment shares in a sure flop – that doesn’t. Priceless performances by an inspired supporting cast. A recent stage remake with Nathan Lane and Matthew Broderick was a runaway hit.

Trading Places (1983, Color) A surprisingly insightful comic masterpiece with many hilarious sequences and witty visual allusions. Commodity tycoons ruin their preppy protégé’s life and replace him with a black street hustler. Then-newcomers Dan Aykroyd and Eddie Murphy sparkle, with help from veteran stars Denholm Elliot, Ralph Bellamy and Don Ameche.

Citizen Kane (1941, B & W) Orson Welles. Cinematographically the most influential movie ever made, and rated overall # 1 by many critics. We don’t quite agree. The brilliant camera-work covered up for an unnecessarily grim story-line, and the climactic ending (finally revealing the meaning of “Rosebud”) is at best obtuse and at worst trite. Perhaps you should watch it and decide for yourself.

Kind Hearts and Coronets (1949, B & W) Dennis Price. Thoroughly engrossing story of how the 9th in line for a dukedom murders his way to the title. Alec Guinness (Star Wars’ Obi wan Kenobi to younger generations) plays all the victims! Black humor abounds, especially in the details of the running narration. A high point of vintage British filmmaking.

Rear Window (1954, Color) James Stewart and Grace Kelly explore the contrasts between substance and appearance, observation and participation – and discover how little difference there is. Though-provoking but solidly enjoyable and easy on the intellect. Clever camerawork, Kelly at her loveliest, and some very sexy kissing.

The Graduate (1967, Color) Landmark film that captured the confusion and disillusionment of an entire generation. Consider the closing song, and the visual cues at the climax, and decide for yourself if the ending is really happy, or merely resigned. Dustin Hoffman’s first role, and the start of an illustrious career as a comedian and dramatic actor.

The Journey of Natty Gann (1985, Color) Not for very young children.From Walt Disney, with John Cusack and Meredith Salenger. Among movies made primarily for children, this is a standout – a simple story, convincingly told, with neither condescension nor pretension. Built on universal themes of love and separation, choice and obligation, it will appeal to sensitive viewers of all ages. Heart-rending at times; do not expect to remain dry-eyed.

The Sting (1973, Color) Paul Newman, Robert Redford, with many familiar supporting actors. Chicago con artists take on a bit-time mobster with an elaborately planned swindle. The best-ever “caper” film, where the fun is in watching the details of the plan unfold. A sheer delight, with layer upon layer of deception – and that’s as much as we’ll reveal.

Hello, Dolly (1969, Color) Long film – 148 minutes Barbara Streisand, Walther Matthau and Louis Armstrong. Superbly-crafted musical with an appealing cast, high production values, and almost every number a show-stopper. Public tastes were changing by the time of its release, and it received a lukewarm response, signaling the end of the era of big-budget Hollywood musicals. Directed by modern-dance legend Gene Kelly.

De-Lovely (2004, Color) Kevin Kline, Ashley Judd. A sympathetic presentation of the career of songwriter Cole Porter, De-Lovely traipses lightly from one song-and-dance to the next, from Night and Day to Anything Goes, In the Still of the Night to Begin the Beguine. The Narrative is low-key and touching, while the musical numbers feature well-known contemporary performers, and almost everyone is good to bring down the house.

Singin’ in The Rain (1952, Color) Gene Kelly, Debbie Reynolds. Acclaimed as the greatest musical, in large part because it’s about Hollywood musicals: silent stars making the painful and often unsuccessful transition to talkies. In addition to the well-known dancing-in-the-rain scene, look for the Cyd Charisse “temptress” number with Kelly.

The Big Broadcast of 1938 (1938, B & W) Bob Hope’s first move, though WC Fields had top billing. Some pretty awful vaudeville numbers, but more than worth it for Hope’s wisecracks and Field’s trademark delivery. “Thanks for the Memories” won an Academy award and became Hope’s lifelong signature melody.

The Gay Divorcée (1934, B & W) After supporting roles in 1933’s Flying Down to Rio, Fred Astaire and Ginger Rogers starred in this lively mistaken-identity farce. It set the pattern for the Astaire-Rogers dance-musical series which entertained America during the Depression. Many standout tunes, including The Continental.

Viva Las Vegas (1963, Color) Never mind the story, which is utter nonsense. Revel instead in the singing and dancing, and the overall tone, which is so innocent, energetic, and infectiously upbeat that you’re sure to walk away with a smile on your face and a song in your heart. Elvis Presley was at the peak of his career in this film, while Ann Margret is a joy to behold in every number, and in-between numbers besides.

An Affair to Remember (1957, Color) Cary Grant, Deborah Kerr. Shipboard romance develops between a penniless playboy and someone else’s mistress. A stylish first half dripping with good-natured humor, unfortunately degrades into soap-opera in the second, typical of romances of this period. Nonetheless, some women seem to like this movie, and it is a perennial late-night favorite.

Casablanca (1941, B&W) Humphrey Bogart, Ingrid Bergman, Claude Rains. The most written-about and most quoted movie of all time, a WW2 melodrama that’s got it all – plot, character, music, humor, romance, tragedy, adventure, even political commentary. Snappy, witty script, and an unforgettable supporting cast who gives their characters dimension and color. # 1 or #2 in almost everyone’s list.

Only You (1994, Color) Marisa Tomei and Robert Downey Jr. star in this lighter-than-air, sweeter-than-moonshine confection about how a schoolteacher named Faith searches for the man she was told is her Destiny. Meanwhile, a determined suitor tries to convince her otherwise. A “feel-good” movie of the first order.

Roman Holiday (1953, B&W) Gregory Peck, Audrey Hepburn, Eddie Albert. Runaway princess does Rome in a day, with a reporter and sidekick photographer aiding and recording. Spectacular location shooting. Nominated for 10 Oscars, won 3 (Actress, Story, Costume). Touching, funny, bittersweet, this is one film that never dates and never cloys – fresh and delightful each time you watch it.

Sleepless in Seattle (1993, Color) Tom Hanks, Meg Ryan. A touching story of a widower whose son calls a radio talk show to ask for a new wife for his dad, attracting thousands of responses. Uses An Affair to Remember (see previous page), as a major plot device. Thoughtful performances, a wellcrafted screenplay, and well-paced story development make this an ideal “date” movie.

The Ghost and Mrs. Muir (1947, B & W) Gene Tierney, Rex Harrison. A young widow takes a seaside house and falls in love with its resident ghost, a retired sea captain who decides to write his memoirs through her. Despite the quasi-happy ending, it’s guaranteed to mist the eyes of romantics. A fine example of a “weepie” without the clichés.

When Harry Met Sally (1989, Color) Meg Ryan, Billy Crystal. A couple meets after college and spends 13 years falling in love. A modern favorite, with interesting insights on dating, sex, and marriage backed with a wry sense of humor and a nostalgic musical score. The delicatessen scene is one of the funniest of all time. This is the film that established Ryan as America’s sweetheart.

And Then There Were None (1945, B &W) Based on the Agatha Christie novel that is without much doubt the most influential and imitated whodunit ever written. Ten persons of different backgrounds are lured to a remote mansion where they are killed one by one, until…there are none! So who done it? Of the numerous screen versions made, this is generally considered the most faithful to the book.

Dressed to Kill (1980, Color) Strong sexual content. Nancy Allen, Angie Dickinson, Michael Caine. Director Brian de Palma arguably invented a new genre, the erotic thriller, with this film. Provocative sex scenes are intertwined with chases, assaults, and grisly murders. The theory is that the more different ways you can raise the audience’s blood pressure, the more satisfying the climax will be. It works for us.

Laura (1944, B & W) Dana Andrews, Gene Tierney. A detective investigates a murder and falls in love with the dead woman’s portrait. Chilling mystery dwelling on deceit and pretension among New York’s upper crust. Its sharp, biting dialogue, strong story, and well-etched sense of decay make it the classic film noir, rivaled only by The Big Sleep.

Notorious (1946, B & W) Cary Grant, Ingrid Bergman, Claude Rains. Love story/spy thriller set in Rio de Janeiro. Well-designed sets and fine acting by entire cast. Features camera techniques that would later become Hitchcock trademarks. Absolutely gripping, from opening party scene to the closing line in which an everyday phrase conveys a world of menace.

The Big Sleep (1946, B&W) Humphrey Bogart, Lauren Bacall. The “hard-boiled detective” movie style at its best. Snappy dialogue and a strong erotic undertone, heating up whenever Martha Vickers (playing the younger sister) comes onscreen. So convoluted, with so many murders, that not even author Raymond Chandler could account for all the bodies.

The Lady Vanishes (1936, B&W) “Margaret Lockwood, Michael Redgrave, Dame May Whitty. British spy and friends must escape from Central Europe with a vital secret. Most watchable of the early Hitchcock thrillers. Attractive leads, a touch of political philosophizing, and well-drawn supporting characters, with many fine comic touches and double-entendres.

The Maltese Falcon (1941, B&W) Humphrey Bogart, Mary Astor. The hunt for fabled statuette leads to San Francisco and Sam Spade – detective, though guy, and cynic. Strong characterizations and smoky sets make for many memorable scenes. Brilliant casting of stage actor Sidney Greenstreet as the Fat Man was one of director John Huston’s major coups in this, his breakthrough film.

The Ring (2002, Color) Will scare the wits out of you; don’t see it alone. Naomi Watts. A videotape with creepy images (including one of a ring-like structure) appears from nowhere; if you watch it, you get a telephone call (“rrring”), and exactly one week later, you die. You cant run. You can't hide… much scarier than the 1998 Japanese original Ringu, this remake weaves a palpable sense of hate, evil, and growing dread, as a journalist whose son has viewed the tape to uncover its secrets before the seven days are up.

Vertigo (1958, Color) contains disturbing images James Stewart, Kim Novak. Hitchcock’s masterpiece about obsession and illusion, and only tangentially about vertigo. Opulent San Francisco setting, tightly-constructed scenes, creative camera angles, and a compelling emotional tapestry have been appreciated more and more over the years, now putting this in many critics All-Time Top 10.