The worlds of the natural and the artificial are compared and contrasted in this non-narrative visual orgy.

An epic biopic, over three hours in length, Gandhi captures the spirit of the man and his struggles.

Amy Heckerling’s portrait of high school/shopping mall life in Southern California is still just about as good as it gets...The panoply of teen types and turmoils is dead-on accurate.

The Thing is paranoid, bleak, uncompromising, and thankfully devoid of a traditional Hollywood happy ending. Led by Russell, the ensemble cast is outstanding, but the real star of the film is Rob Bottin's imaginative creature effects.

Martin's inner giddiness makes Dead Men Don't Wear Plaid a classic. This loose film is more than a spoof of the hard-boiled noir of the Forties and Fifties; it is a tribute to the wonderful memories these films created in a generation.

Schwarzenegger has probably never been better-cast.

As anthropology, Out of the Blue is engrossing; as a social document, it is essential; but as undiluted raw power, it is absolute. No filter.

One of the most suspenseful films of all time, its wartime action setting makes it easy to forget it's also one of the most spiritually righteous. [Director's Cut]

Here, Martin and company turn the proceedings into an unfunny farce, flinging out silly jokes at the rate of an Airplane movie in the desperate hope that something will stick.

A bad sequel to a good movie...The main concentration is on gross-out effects and lame chase scenes.

This movie presented a radical melange of genuine horror and self-aware comic touches, not to mention the fabulous Rick Baker special effects.

A genuinely outrageous and occasionally brilliant coupling of American animation and classic early-Eighties heavy metal (does anybody even remember Riggs and Trust?).

Edwards' crowning achievement. It is a wickedly funny, impeccably cast, ingeniously subversive satire of the Hollywood film industry.

It's a bit unnerving to realize that an entire life can be summed up so well in 20 minutes and that four generations can be fit into a mere 96 minutes without feeling cramped, but that's what's so beautiful about stories like this, too.

Uneasy blend of the extreme visuals of director Ken Russell and the bloated dramaturgy of writer Paddy Chayefsky (who disowned this adaptation of his novel).

Neil Diamond isn't the best actor, and the 1980 version of The Jazz Singer doesn't have the best script, but this movie (love on the) rocks nonetheless.

Pure entertainment, and a true chop-socky classic.

The performances are riveting and the visuals are stunning. The boxing sequences are brutally realistic - there are no crappy Rocky theatrics here - and the humanity oozes out of every scene.

The scenes of Chong loitering around the house, playing guitar and generally being a degenerate, are quite humorous, as is the duo's satirical venture to the welfare office.

The spoof that launched a thousand parodies – this is the one that's 100% funny.

O'Toole plays his seductive, grand, and dangerous director part as if this might be the role he wants to be remembered for.

Only a couple years removed from his screen super-success in Saturday Night Fever, Travolta struts his way through Urban Cowboy’s modern-West parable about machismo, cowboy manqué, and mechanical bulls. Travolta captures some of the confusion of a little big man on the new prairie, Debra Winger provides a vixenish challenge to his manhood, and Scott Glenn plays the guy in the figurative black cowboy hat.

Who would have ever thought to pair up Stanley Kubrick and Stephen King? But weird as it sounds, this creepy thriller works.

Despite its age, The Long Riders remains quite fresh. By combining elements of classic Westerns with a modern narrative, Hill and his capable cast render a thrilling look at characters often misinterpreted by Hollywood.

Humanoids features a number of strong female characters, including a lead scientist and another who defends her homestead from the marauding creatures.

If the hilarious soundtrack isn't ample motivation for those intimidated by the freakish sex and violence, the side-splitting sight of shrimpy Villechaize coupling with the 225-pound, 6-foot Queen (Tyrrell) is reason enough to slog through the insanity.

Wonderful performances anchor this biopic of country star Loretta Lynn's rise to fame. In a time before the TV music channels made star biographies into such a formulaic joke, Coal Miner's Daughter was the real deal.

Disturbing and grim in its portraits, Wise Blood is nevertheless marvelous storytelling and its performances are virtually divine.