The Watcher in the Woods is a great movie for seventy minutes, but the subpar ending really does stain an otherwise solid watch.

The problem with He Knows You're Alone is that it's, well, boring. The characters are likable enough but dull, the subplots go on too long, there are more jump scares than suspense, the killer isn't all that scary, and his kills are mostly bloodless.

It's both biting and prescient in its satirical message that details the contrast of the desires of selfish individual player taking precedence over the team mentality that the coaches encourage in the locker room.

Not only is it a stunning piece of filmmaking that is as rich in detail as it is patient in its exploration, but it also makes the most of absolutely every single element of its slice-of-life portrait.

If you aren’t charmed by Tentacles’ impressive cast or fascinated by the film’s clever use of octopus skills, surely you will be won over by the film’s campiness that culminates in an underwater orca versus octopus showdown.

In addition to just being side-splittingly funny, Young Frankenstein is an aesthetic triumph.

Given its troubled production history, Messiah of Evil is far from perfect. Mood can only get you so far when not much happens for a good hour of the film. But it flows with the blood of New Hollywood in its veins, defining the wave as more than just gritty dramas and excessive blockbusters.

By boldly balancing historical responsibility with modern social critique, Poitier establishes his Western masterpiece as both a time capsule and timeless adventure, flowing effortlessly between the genre’s entertaining shootouts and robberies and the prescient commentary of subverting racist systems by all means necessary.

Tokyo Story, Ozu’s 1953 magnum opus, has frequently been acclaimed by filmmakers and critics alike as the greatest film ever made, and it very arguably could be. Regardless of where you’d place it on the hierarchy of the “best ever’s", Tokyo Story is certainly the ultimate family film—that is, the ultimate film about family and what family actually means.

Minnie and Moskowitz could easily be retitled as “Men Who Yell at Gena Rowlands About Why They Should Be an Item”. But with John Cassavetes script, the yelling is fun.

A film so quirky that it’s ready-made for a Wes Anderson remake.

Despite these positive attributes in terms of the production and style, the actual plot is ultimately convoluted, confusing and quite dull.

Veronica Carlson and Barry Andrews made the strongest couple to fall victim to Christopher Lee’s Dracula. All the supporting cast are excellent. It’s easy to get invested in their lives and wish them a happy ending after enduring Dracula’s horror.

It's a strange and very busy movie, but it has a chaotic kind of charm to it that'll appeal to those who like bold and oftentimes ridiculous comedy movies from this era.

Offbeat and painfully real, Rachel, Rachel fits firmly in with films of the era like Five Easy Pieces and I Never Sang For My Father…not bad company to be in.

Sure, it might not be The Searchers or Rio Bravo, but The War Wagon deserves a share of the praise The Duke’s more well-renowned movies regularly get.

You're a Big Boy Now fits in with the sort of rebellious, youthful films that were popular during the final years of the rebellious decade in which it was released, but probably isn't an essential watch for anyone other than the filmmaker's most devoted fans.

It's a fun movie to watch just to see how Presley even keeps up with the constant changes in this young girl. His reactions are funny, and it's a very playful movie that many people don't really talk about.

There's no question that it carries all the hallmarks of a low-budget Corman effort. That being said, there is the feeling in Dementia 13 that there's a filmmaker behind the camera that really cares about the story at hand.

It's a surprisingly funny movie at times, even though it deals with serious themes, deconstructing the samurai mythos while also having a solid amount of gritty sword-fighting action.

Despite some missed payoffs for rich storylines introduced early on, The Birds more than earns its legendary status, with its beautiful direction, sharp performances, and an inventive and metaphorical premise.

Every minute detail and artistic decision Hitchcock makes contributes to the film’s eeriness, though it’s Leigh and Perkins’ captivating performances that turn this into the terrifying tale so entrenched in Hollywood history.

It epitomizes and distills all of Hammer's hallmarks into a product that’s so damn good, it’s hard to find fault.

Henry Fonda, Martin Balsam, John Fiedler, and Jack Warden lead a cast that glues you to the screen and never lets you go till the final verdict.

Even with the dazzling camera work and notable cameos, the film's true marquee attraction is Bogart delivering another classic performance in the face of tragic personal circumstances.

Even though the musical aspect does make it at odds with darker cowboy movies, Calamity Jane is still a fitting showcase for one of the genre's best characters.

Limelight resonates today because of its awareness of the gravity surrounding Chaplin's legacy without favoring too far into self-indulgence. The film's endearing conclusion, that the humbling appreciation of humanity stands as the driving force behind art, is the thematic idea that Chaplin embodies.

The 1950 film Harvey, starring the legendary Jimmy Stewart, is a film ahead of its time. It's a film that speaks to mental illness. A film that places the value of one's quirks above societal expectations. It's a charming, funny film with an innocence that is seldom seen in theaters today.