Barry Norman's best British films: did he get it right? We can quibble over individual entries on Norman's list, but generally not the sweep and scope of it. If there must be a Richard Curtis film on there (and sadly, there must), Four Weddings and a Funeral (1994) should be it. To represent modern Bond I would have chosen Casino Royale (2006) over Skyfall (2012) in a poker-hand heartbeat, but the UK box office returns for the latter - £102 million and counting - suggest I am in the minority. Two decades are also missing: 1983-1993 and 2000-2010. The first could easily be represented by Brazil (1985), Withnail and I (1987) and Distant Voices, Still Lives (1988); a satirical fantasy, a scabrous comedy and an impressionistic drama that between them illustrate British cinema's dizzying range. The second featured Alfonso Cuarón's Children of Men (2006) and Nicolas Winding Refn's Bronson (2008); two British stories told by foreign directors that show off the incredible richness of our contemporary film culture. There is no animation, which means we are missing the unmistakably English output of Aardman, who have yet to top the concentrated genius of their 1993 short The Wrong Trousers. Nor is there any mention of new British urban cinema. It may be too soon to find this movement's place in the pantheon, but the sharp and provocative My Brother The Devil (2012) already has the sparkle of significance. The 50th position on Norman's list is still list vacant pending a vote by Radio Times readers, so here are my 10 suggestions to fill it: Brighton Rock (1947), Repulsion (1965), Blow-Up (1966), Blood on Satan's Claw (1971), Frenzy (1972), The Wicker Man (1973), Brazil (1985), Distant Voices, Still Lives (1988), The Wrong Trousers (1993), Shaun of the Dead (2004), Four Lions (2010) and Kill List (2011). The sharper readers amongst you may have noticed this is 12 films, not 10, but I doubt you will be able to choose which two to cut.