Having proven itself as a favourite film of children around the world, Willy Wonka & the Chocolate Factory is every bit as entertaining now as it was when originally released in 1971. There's a timeless appeal to Roald Dahl's classic children's novel, which was playfully preserved in this charming musical, from the colourful carnival-like splendour of its production design to the infectious melody of the "Oompah-Loompah" songs that punctuate the story. Who can forget those diminutive Oompah-loompah workers who recite rhyming parental warnings ("Oompah-loompah, doopity do. ") whenever some mischievous child has disobeyed Willy Wonka's orders to remain orderly? Oh, but we're getting ahead of ourselves. it's really the story of the impoverished Charlie Bucket, who, along with four other kids and their parental guests, wins a coveted golden ticket to enter the fantastic realm of Wonka's mysterious confectionery. After the other kids have proven themselves to be irresponsible brats, it's Charlie who impresses Wonka and wins a reward beyond his wildest dreams. [+]

Decades before the Hollywood film industry became famous for megabudget disaster and science fiction spectaculars, the studios of Southern California (and particularly Metro-Goldwyn-Mayer) were renowned for a uniquely American (and nearly extinct) kind of picture known as The Musical. Indeed, when Sight & Sound conducts its international critics poll in the second year of every decade, this 1952 MGM picture is the American musical that consistently ranks among the 10 best movies ever made. It's not only a great song-and-dance piece starring Gene Kelly, Donald O'Connor, and a sprightly Debbie Reynolds; it's also an affectionately funny insider spoof about the film industry's uneasy transition from silent pictures to "talkies". Kelly plays debonair star Don Lockwood, whose leading lady Lina Lamont (Jean Hagen) has a screechy voice hilariously ill-suited to the new technology (and her glamorous screen image). Among the musical highlights: O'Connor's knockout "Make 'Em Laugh"; the big "Broadway Melody" production number; and, best of all, that charming little title ditty in which Kelly makes movie magic on a drenched set with nothing but a few puddles, a lamppost, and an umbrella. -Jim Emerson Singin' in the Rain is probably the most treasured musical in the history of cinema. It is essentially a satire on the dawning age of talking pictures, but that description doesn't begin to describe its importance in the hearts of film lovers, even those who can't otherwise stand musicals. Given its origins-producer Arthur Freed wanted a framework on which to hang a selection of the hits he'd written in the early part of his career with Nacio Herb Brown, many of which had themselves featured in early talkies-it should have been a mongrel of a picture. But somehow, with its combination of endearing performances, the razor-sharp script of Adolph Green and Betty Comden, instinctive direction from Gene Kelly and Stanley Donen and those delightful songs, it is triumphantly greater than the sum of its parts. Kelly's dance sequence, conceived for the title song, is an undiluted joy and remains an iconic cinema moment. [+]

Going My Way is an irresistible Oscar winner from writer-director Leo McCarey (An Affair to Remember) that stars Bing Crosby as a low-key, crooning priest who joins the parish of a no-nonsense but sweet old Irish man of the cloth (Barry Fitzgerald). While Bing turns local toughs into a choir, the elder priest worries over the church building fund and whether he'll get a chance to see his old mother back in Ireland before she dies. One would have to have a heart of stone not to be won over by this charmer, with a lovely ending guaranteed to make you bawl for a week. -Tom Keogh, Amazon. com.

Jim Carrey is up to all his old tricks (and some nifty new ones) in The Grinch Who Stole Christmas, a live-action film of Dr Seuss's holiday classic. Under a thick carpet of green-dyed yak fur and wonderfully expressive Rick Baker makeup, he commands the title role with equal parts madness, mayhem, pathos and improvisational genius, channelling Grinchness through his own screen persona so smoothly that fans of both Carrey and Dr Seuss will be thoroughly satisfied. Adding to the fun is a perfectly pitched back-story sequence (accompanied by Anthony Hopkins's narration) that explains how the Grinch came to hate Christmas, with a heart "two sizes too small". Ron Howard proves a fine choice for the director's chair with a keen balance of comedy, sentiment and light-hearted Seussian whimsy. Production designer Michael Corenblith gloriously realises the wackiness of Whoville architecture, and his rendition of the Grinch's Mt Crumpit lair is a marvel of cartoonish, subterranean grime. Then there's Cindy Lou Who (Taylor Momsen), the thoughtful imp who rallies her village to recapture the pure spirit of Christmas and melts the gift-stealing Grinch's cold, cold heart. You've even got a dog (the Grinch's good-natured mongrel, Max) who's been perfectly cast, so what's not to like about this dazzling yuletide movie? The production gets a bit overwhelmed by its own ambition, and the citizens of Whoville (including Jeffrey Tambor, Christine Baranski, Molly Shannon and Bill Irwin) pale in comparison to Carrey's inspired lunacy, but who cares? If a film can unleash Jim Carrey at his finest, revamp the Grinch story and still pay tribute to the legacy of Dr Seuss, you can bet it qualifies as rousing entertainment. (Ages five and older. ) -Jeff Shannon, Amazon. com. [+]

Regularly touted as one of the best British sitcoms ever, Only Fools and Horses kicked off in 1981 when mobile phones were the size of bricks and wine bars were the ultimate places to hang out in. The formula was simple enough: Cockney wideboy Derek Trotter (brilliantly played by David Jason) dreams of better things for himself while sharing a cramped council flat in the nicely named Peckham tower block Nelson Mandela House with his unworldly brother Rodney and his sweet but doddery old grandad. Trouble is, Del's endless money-making schemes (such as his attempt to flog a consignment of one-legged turkeys, or his plan to sell bottled tap water) inevitably backfire, like the knackered old Robin Reliant van he uses to cart around all this faulty gear in. Created by John Sullivan, who also sings the very catchy theme tune, Only Fools and Horses is a wonderful mix of dodgy but loveable characters (such as Del Boy's dimwit friend Trigger), knockabout slapstick (no-one falls down with as much comedic grace as Jason) and brilliantly crafted dialogue. Sadly, Leonard Pierce who played Grandad died in 1983; but his armchair in the Trotter household was filled in 1985 by Buster Merryfield as Uncle Albert (an old merchant seaman who bores Del and Rodney with tales of his war days). The show ran to seven series and ended with characteristic warmth in 1991, when Del Boy became a father; but the Trotters made occasional returns to the small screens with six hugely popular one-off Christmas specials. As Del Boy himself might say: "Lovely jubbly. " -Edward Lawrenson.

This live-action version of EB White's novel doesn't have quite the magic of, say, Toy Story. Instead of entertainment the whole family can be enthralled with, Stuart Little is squarely aimed, and successfully so, at the four to 10-year-old viewer. Does this make it a bad family film? Not in the slightest. The gee-whiz visual effects (created by original Star Wars wizard John Dykstra) and the film's ebullient wholesomeness make this a welcome addition to the home library. In EB White's world, it's hardly surprising that human parents would adopt "outside their species". The smooth-talking mouse Stuart (voiced by Michael J Fox) seems the perfect new child for parents Geena Davis and Hugh Laurie, especially with an adorable wardrobe of very small sweaters and pants. Stuart has more difficulty fitting in with the Little's family cat, Snowbell (voiced by Nathan Lane, who also deftly voiced Timon in director Rob Minkoff's last feature, The Lion King). The simple story deals with Stuart trying to fit in with his new life, including big brother George (Jerry Maguire's scene-stealing Jonathan Lipnicki). And of course there's an adventure when Snowbell's schemes put Stuart into real danger from the devious plans of an alley cat named Smokey (voiced by Chazz Palminteri). Brisk-85 minutes-amusing and tolerably cute, Stuart Little stands tall. [+]

Nice concept, shaky execution-that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies and its central idea-the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow-is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the centre of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch)and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: the two scenarios are so romantically unbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. -Jeff Shannon.

Britain's greatest ever film director David Lean wasn't feted for providing belly-laughs. His finest films, from Great Expectations (1946) to Lawrence of Arabia (1962) are resolutely sober, which is more than can be said of Henry Horatio Hobson in his wonderfully comic encounter with the moon in Hobson's Choice. Lean's only other comedy was Blithe Spirit (1945), but here he approaches matters of the heart with a surprising lightness of touch and wins a marvellous performance from Charles Laughton-himself soon to make his one and only film as a director, Night of the Hunter (1955). The setting is late-19th century Salford (the b/w location filming is exceptional), and widower Henry Hobson forbids his three daughters to marry to avoid paying their dowries. Romance will not be thwarted by economics, and much humorous conflict ensues, interspersed with some serious and even disturbing moments-the shaving scene when Laughton gets the DTs is a queasily unbalanced. Brenda De Banzie is splendidly spirited as the eldest daughter, Maggie, while her fiancie is played by the ever excellent John Mills, who would later win an Oscar for his part in Lean's much more serious love story, Ryan's Daughter (1970). -Gary S. Dalkin.

Grease was a phenomenal hit with its target teenage audience when it was released in 1977. The songs dominated the pop charts and brought heady success for its lead actors, John Travolta (Danny) and Olivia Newton-John (Sandy) despite the fact that-as with their energetic co-stars-their own teenage years were some way behind them. As they seize the chance to relive their schooldays, their verve and enthusiasm explodes from the screen. The real class, though, comes from Stockard Channing as feisty Rizzo and, in a couple of cameos, wisecracking silver screen actresses from yesteryear Eve Arden and Joan Blondel. Based on the 1972 stage show and adding several new numbers, Grease is at heart a rites-of-passage movie with plenty of feel-good moments and a euphoric buzz. "You're the One That I Want", "Hopelessly Devoted to You" and "Summer Nights" became the soundtrack for a generation of high-school students on the cusp of adulthood. Today, it looks like a pastiche of those 1950s Connie Francis rock & roll beach films. But the steady stream of double entendres and knowing body language render it more accessible to the less innocent late 1970s. It's overwhelming nostalgia for anyone in the vicinity of 40. On the DVD: The 25th anniversary special edition of Grease rolls back the years: the 2. [+]

MGM's bold idea to remake George Cukor's Oscar-winning upper-class romantic farce, The Philadelphia Story, into a star-studded technicolor musical with Cole Porter tunes somehow works splendidly and remains an underrated gem. Even the plot and character names-and some bits of dialogue-all remain the same as the original. Crooning Bing Crosby replaces Cary Grant as the wealthy ex-husband trying to win back his soon-to-be-remarried ex-wife, spoiled ice queen Tracy Lord (Grace Kelly, stunning and aloof in her last film role, originated in the earlier comedy by Katherine Hepburn). Unlike Grant, however, Crosby has jazz great Louis Armstrong, playing himself, in his corner for quixotic persuasion. Frank Sinatra (cocky in James Stewart's former role) and Celeste Holm add support as the nosy reporters covering, and subsequently complicating, the upcoming wedding. Sure, High Society lacks the original's witty satire, sarcasm and character complexity; but it's assuredly paced and wonderfully acted, and contains enough romantic chemistry to keep the plot engaging. And then there's the music. Unlike the grandiose production numbers of many 40s and 50s musicals, High Society's musical sequences are considerably low-key and intimate, focusing on Porter's lyrical content and the style in which it's delivered by the charismatic performers. Armstrong kicks the film off in telling style: he sings the title track, a calypso tune outlining the plot like a Greek chorus-not as an elaborately choreographed song-and-dance number, but instead stuffed claustrophobically in the back of a limousine with his jazz band. Other musical standouts include Sinatra and Crosby playfully tossing barbs during "Well, Did You Evah?"; Crosby and Armstrong teaming up for an energetic clash of styles in "Now You Has Jazz"; the two soaring, archetypal ballads by the leads-Crosby's "I Love You, Samantha" and Sinatra's superior "You're Sensational"; and, finally, the satirical Sinatra/Holm duet, "Who Wants to Be a Millionaire?", the closest High Society ever comes to social or class-commentary. [+]