Guinness restores the morale of British PoWs by building a bridge which is of military value to the Japanese, and then attempts to thwart the RAF's destruction of it! A classic film which swept 7 Oscars including "Best Picture".
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THE FRENCH CONNECTION (1971)
Certification18 Our Rating
The famous drugs thriller as Gene Hackman plays the cop determined to fix the Marseille based heroin runners once and for all. An action-packed movie full of murders, car chases and everything else a good thriller should have - making it one of the classics and a yardstick for others since. Won Best Picture at 1971 Academy Awards.
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THE GODFATHER 2 (1974)
Certification15 Our Rating
Seldom is a sequel better than the original. In this case the exception proves the rule. The full background to the mafia family epic which is also a metaphor for contemporary America. Won Best Picture at the 1974 Academy Awards.
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THE SILENCE OF THE LAMBS (1991)
Certification18 Our Rating
Winner of a frightening number of Oscars (Best Film, Director, Actor, Actress and Adapted Screenplay); a vulnerable FBI rookie is sent to coax much needed information from the monstrous Hannibal "The Cannibal" Lecter in order to stop a killer who skins his victims. Brilliant, terrifying and gripping.
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TOOTSIE (1982)
Certification15 Our Rating
Dustin plays an out of work struggling actor - all the roles seem to be for women, so he gets into drag and lands a part in a soap opera. However spending 50% of his time as a popular female star introduces a lot of problems into his love life. This comedy is not a drag!
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TWELVE ANGRY MEN (1957)
CertificationU Our Rating
Fantastic Oscar winning film portraying the jury in what appears to be an open and shut murder case. Only Fonda expresses any doubt against the guilty verdict, and combined with the observations of an older man he begins to call the evidence, the witnesses, and the legal system into doubt.
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WHO'S AFRAID OF VIRGINIA WOOLF? (1966)
Certification15 Our Rating
Burton and Taylor in a screen version of the kind of love-hate relationship which they were famous for in private, a kind of on-screen therapy. Taylor gives what is probably her finest performance as the blowsy harridan Martha, while Burton is not quite so hammy as usual as her angst-ridden college professor husband. The verbal fireworks that occur when they invite a young couple to dinner are surprisingly convincing. A must see classic.
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