The Oscar for Best Picture is the biggest prize awarded in the film industry. But do the Academy voters get it right every year? Here are 10 films that deserved to win but didn’t.

They don’t make them like they used to. This top 10 discovers why that statement rings so true with a look at some classic films made before 1930 that demand attention.

The Temptress. The allure of female beauty and those characters who know exactly how to dominate their male counterpart through sexuality.

Some believe cinema production in 1950s Britain passed the nation by. Apart from a few Ealing comedies is there anything else worth seeing? Anthony Nield thinks there is…

Ten film versions of Charles Dickens’ classic tale A Christmas Carol? Surely not? But there is. More than 10 in fact. Rory Fish sorts the good from the bad

Not before or since has the British film industry produced such timeless and brilliant films. The 1940s weren’t just a golden era for Hollywood, there were riches to be found in British film too.

Hammer is remembered today for its horror films, which is to be expected since the genre produced their most iconic films and characters, but is did start out making dramas and comedies, and also period-action films. Horror movies didn’t even register as half their output. As a matter of fact, only 1/8th of Hammer films were horror, and one of their most famous and appreciated films was the comedy On The Buses. So why is Hammer so synonymous with the horror film, and more importantly, such gothic horror characters like Frankenstein, Dracula and Dr. Jekyll and Mr Hyde?

Stalag 17 arrived only a couple of years after writer-director Billy Wilder saw his social commentary Ace In The Hole receive a muted reception from critics and filmgoers alike. It was a daring project to undertake – the remnants of world war were still very evident in 1953, and the setting for a comedic drama in a German prison camp could easily be misconstrued as insensitive or even naive. But Stalag 17 is neither. Wilder, who was deeply affected by the war sees these American prisoners in a unique and entertaining light – as racketeers and petty mischiefs.