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.

Love triangles, secrets, murder, and wild courtroom drama make for a gripping Hitchcock classic.

Most importantly, Abbott and Costello Meet Frankenstein doesn’t pretend to mask itself as something more than a cheap thrill, but it’s that tongue-in-cheek self-awareness that not only made it a box office smash, spawning several sequels, but the birth mother of an entirely new genre altogether.

Zinnemann is honest in his depiction of the raw, unfiltered emotions of displaced children, making The Search one of the most searing examinations of war’s impact ever put on screen.

Till the End of Time remains an extraordinary exploration of what happened when the boys came home...and when they didn't. In many ways, it's a landmark film.

Shot in three-strip Technicolor, it’s simply one of the most gorgeous films ever made, and in terms of composing a frame, Michael Powell was a master.

It's all a bit "been there, done that," and though it's not abysmal for its time, it doesn't feel particularly fresh or enjoyable.

Of the two classic Universal sequels, Son of Dracula has more to it, even with such bad miscasting as the all-American Lon Chaney Jr. as Dracula (and it is Dracula himself here, despite the title). He gives it the ol' college try, and he was the first to play Dracula in a moustache, but there's no getting around his voice or his blue-collar demeanor.

As an example of artistic propaganda, a film that drives home a message while maintaining creative credibility, it remains second to none.

What, on the surface, appears as a gothic tale of the occult with shocking visual mutation, is actually a tender tale of misunderstanding and tragedy.

Joan Fontaine is so fantastic in Suspicion that she won the Academy Award for Best Actress, making her the only Oscar-winning performance in a Hitchcock movie.