This is a gritty, criminally underrated, true-crime drama, with innovations in editing and structure that would do well to be included in today's thrillers.

It makes virtually no sense, but the costumes are fetishistic gems and the set design trips the light fantastic. A camp classic.

Due more to how it makes you think rather than to what it shows, Night of the Living Dead gets under your skin and burrows into your blood and psyche.

Felix and Oscar are now part of the American mythos.

This is the way this ground-breaking monument was meant to be seen: in mind-boggling 70mm.

Simultaneously creepy and hilarious, this is the perfect slice of Grand Guignol for a humid summer's night.

Hoffman and Bancroft are phenomenally cast in a script co-written by Buck Henry and Calder Willingham that is by turns sly, touching, and amazingly fresh 30 years later. [Review of re-release]

You won’t want to miss a word of the deliciously bad dialogue in this Hollywood tale of twisted sisters.

It's almost dreamlike in its weird little tone, a Manischewitz hangover of a nightmare that's giddy enough to usher chuckles and is thoroughly unique.

One of the sharpest prison dramas ever, although it's graced with some very humorous portions as well.

So definitive in so many ways, Bonnie and Clyde has become a 20th-century touchstone.

Good performances elevate the material.

Connery didn't want to play Bond anymore, and it shows in this forgettable picture. From a stirred, not shaken, martini to the ninja training school to the "surgery" to make Bond Japanese (by shaving his chest hair), there's nary a moment of this film that doesn't make any viewer cringe.

Certainly one of the very best films in each of Donen and Hepburn's careers, this devastatingly lovely remnant of Hollywood's anything-goes Sixties (with a script by Frederic Raphael) tells the story of a marriage by showing a couple over the course of successive trips to the south of France.

The first in a series of popular Django movies helped define the Italian tradition of spaghetti Westerns with a tormented antihero, extreme, sadistic levels of violence, and loud, heroic music.

Wonderful but improbable tale about a group of mercenaries sent to Mexico to rescue their employer's wife from bad man Jack Palance.

Though casting this mediocre screen hunk as an uptight businessman's alter ego was a stroke of pop genius for director Frankenheimer, it was Hudson's idea to have two actors play the lead, and his surprisingly thoughtful performance galvanizes this harrowing, cerebral thriller (and suggest Hudson's talents were under-utilized).

This is an amazing allegorical study of the life and death of a donkey named Balthazar, whose nasty, brutish life as a slave parallels that of a young farm girl.

The cast is great and the scene in which Carl Reiner and vaudeville vet Tessie O'Shea are lashed together is unforgettably funny.

It's definitely quite the spectacle as directed by the modern-day king of epics, David Lean. The movie is something that should be experienced by everyone at least once in a lifetime.

The director's distinctive editing style, so commonplace today but so unusual for its time, is scarcely apparent in this movie. Also, Meyer's films tend to share a ribald and genuinely funny sense of humor that here gets usurped by a mean and nasty impulse that tends to block out the humor and exaggeration.

Visually, Lumet's use of gritty black-and-white realism to locate the story is also powerful.

This 1964 film, featuring an enduring Lerner and Loewe score, is a classic.

For my money, this Freudian tale about a beautiful kleptomaniac and liar is one of Hitchcock's best accomplishments, certainly one of his most perverse.

This film began the fine tradition of deviating from Ian Fleming's novels, which gave us the suave, sophisticated Bond over Fleming's monosyllabic misogynist.