The young Dillon effortlessly portrays the thuggish Richie, and Kramer is believable as the misunderstood kid turned miscreant. Add a pulsating soundtrack featuring the Ramones, Van Halen, and Cheap Trick, and you have a vibrant depiction of confused teen life.

Peter Weir made this unsettling, atmospheric film early in his career, and it is still one of his most successful projects to date.

Boasts a smart screenplay by Robert Benton and David and Leslie Newman, striking cinematography by Geoffrey Unsworth (especially in the Smallville sequence), bright comic turns by Margot Kidder and Gene Hackman, and of course, that winning performance by Christopher Reeve in the title role. Believe a man can fly? You bet!

Not entirely without some laughable or dated scenes, Halloween remains an original that continues to inspire a genre and probe middle America's fears about what's really lurking in the laundry room after midnight.

Director Alan Parker milks naturalistic performances out of his small cast and creates a brutal intensity rarely matched in cinema today. Michael Serensin's cinematography is oddly sedating yet intense, giving the prison and the whole country of Turkey a frightful, alien sort of feel.

Cheech & Chong's first movie is still their best. The duo wrote the genial script about the never-ending search for great pot, and a good supporting cast co-stars.

Some movies are like Dorothy's twister; they just pick you up and whisk you away from the commonplace world you know to a world wondrous and astonishing. Days of Heaven is such a movie. [27 July 1998]

Martin is relentlessly downbeat and has a molasses pace, but is nonetheless worthwhile to watch if you're in the mood for an uncomfortable, depressing Romero-style take on the vampire legend.

This embarrassingly stupid, cheap, and hokey film owes huge and obvious debts to Seventies gems Death Race 2000 and Rollerball, but with none of the brains or budget of those films.

1900 is a marvelous movie, Bertolucci is one of the best directors who has ever lived.

Truly, this is some kind of wonderful. (Horrific, hilarious, disturbing … but wonderful.)

Cross of Iron is a WWII movie seen through the eyes of German protagonists. Incredible montage sequences and another parable about Peckinpah’s embattled position within the film industry can be found within.

Mikey & Nicky is commonly, and unfairly, categorized as a John Cassavetes knock-off, which diminishes the originality of Elaine May's screenplay and this character study she crafted especially for co-stars Cassavetes and Peter Falk. She unleashes the darkest, most mercurial side of Cassavetes, and in Falk finds the actor's moral ambiguity that had been obscured as a result of his then-popular run as TV's Columbo.

[A] prescient and sharply drawn comedy about the depths to which one unscrupulous station will sink.

Sharp-eyed viewers will spot director Corman, Martin Scorsese, Sylvester Stallone, Joe Dante, and Paul Bartel in bit parts while Mary Woronov takes an incredibly long time to maneuver her van through a multi-car pileup. Sure, it's a ripoff. Sure it's brainless. Cannonball is still a definitive drive-in car chase flick that's gonna make you want to tromp the gas pedal and burn rubber on the way home.

Drawn from the true adventures of the Washington Post reporters and their illustrious editor Ben Bradlee, the movie heroically recounts the dogged journalistic sleuthing that cracked the story of the Watergate break-in and cover-up.

This seminal kids movie broke new ground in terms of its realistic portrait of young people and their use of foul language.

In a way, it's an archetypal car-chase flick, with next to no plot and a lot of cars flying through the air, engines roaring, tires roasting, sheetmetal bending.

If nothing else, the performances of Connery and Hepburn are welcome delights.

Hustle is a great modern love story disguised as a neo-noir police procedural.

Ryan O’Neal has never been better cast than as the shallow and opportunistic hero of Thackeray’s early 19th-century novel.

A one-of-a-kind essay centered on art forgery and hoaxes that is built from spare parts, questionable coverage, obvious overdubbing, and outright bluff, 'F for Fake' is a masterwork most often hailed for its hijacking of documentary form to tease cinema's capacity for making truth out of bullshit

This comic Disney Western is at its best when Don Knotts and Tim Conway are onscreen as the bumbling bandits who try to steal from a bunch of orphans. Few people remember anything about this movie apart from the hilarity generated by this scene-stealing duo.

This is some dumb, thoroughly predictable, drive-in flotsam, but between the cast and the nonstop action, it's fun nonetheless.

This opulently romantic celebration of American imperialism certainly presents the contradictions and is one hell of an epic.

One of Disney’s best and most popular live-action movies, this one is a favorite among those who grew up in the Seventies

Hooper's vision is horrid yet engrossing... But the worst part about this vision is that despite its sensational aspects, it never seems too far from what could be the truth.

Bring Me the Head of Alfredo Garcia is a profound existential adventure, twistedly comic and openly bitter, brought to life by those two maniacs: Peckinpah and Oates.