A Perfect World (1993): superb escaped convict drama from Clint Eastwood, with a never better Kevin Costner developing a paternal bond with the young boy he's taken hostage. The central relationship is touchingly developed, the tension builds inexorably. One of Eastwood's best.
The Major and the Minor (1942): Billy Wilder's debut has a bizarre premise that couldn't be made today - Ginger Rogers pretends to be 12, 30-something man falls in love with her, despite thinking she's 12. Well played, very funny, very minor compared to what was ahead for Wilder.
Tony Takitani (2004): faithful adaptation of a Murakami short story makes ingenious use of a single redressed location and set in a typically melancholy offbeat Murakami tale.
In the Line of Fire (1993): excellent thriller with Eastwood up against a super creepy John Malkovich, who plans to assassinate the president in a particularly ingenious way. Gripping and tense building to a superb climax, well handled by Wolfgang Petersen.
The Dead Pool (1988): final outing for Dirty Harry is more fun than the last one, but feels slight. There's a brilliant/ridiculous chase involving a radio controlled toy car with a bomb but the villain is weak and the strand with Liam Neeson's horror film director is ludicrous.
Sudden Impact (1983): Dirty Harry returns after seven years. Unsuccessfully tries to shake up the formula by getting Harry out of San Fran to investigate Sondre Locke's gang-rape revenge killings. Good ending and serious subject matter, but clumsily handled and very slow.
The Enforcer (1976): Third Dirty Harry film, now becoming formulaic, with cartoon villains, lots of shootouts and chases replacing the thrilling energy of the original. This one is lifted by Tyne Daly as Harry's female partner, their dynamic being the most interesting thing here.
Magnum Force (1973): Dirty Harry sequel pits him against police vigilantes. Whilst still a good mainstream thriller, this suffers against the original due to the need to make the character and film work as a franchise, which makes it more conventional than the classic first film.
Dirty Harry (1971): Classic Siegel/Eastwood, the ultimate 'loose cannon' cop film. Directed with enormous verve, San Francisco is vividly rendered and the action scenes are thrilling. Eastwood and Andrew Robinson are great and the whole film has an uneasy and electric tension.
The Black Cat (1981): loose Italian version of Poe sees Fulci do Gothic horror in a quaint English village. Clash of setting and Italian horror style renders this exotic. Less gory than most Fulci, this is fairly creepy, Mimsy Farmer is good and Patrick Magee overacts amusingly.