To watch Midnight Cowboy is to find one of the great rewards of the movies, two of the finest performances ever seen, and a city made new every time you watch it.

For all of its groovy fun, Yellow Submarine offers a subliminal reminder that the power of love never goes out of fashion.

Without flaw, Woodward delivers her character’s need for change with authenticity and a sense of progression.

An amazing accomplishment by Newman as the best fight man has left in him. There’s also an Oscar winning performance by champion Foghorn Leghorn sound alike George Kennedy.

Seeing von Stroheim’s unfinished film get its chance in the limelight is amazing. Please check out this captivating and wonderfully absurd drama from the last days of the silent era.

Masculine, Feminine could be viewed as Godard's reaction to his own success and the state of the world around him.

The Cincinnati Kid is one of the definitions of what made Steve McQueen who he was. Through the roles he chose, he fit snugly in them, using his calm wits and all else of him to turn himself into the ultimately cool actor.

Great cinema it isn’t. Great fun, great music and great company more than make up for that though.

Sanjuro doesn’t offer as much complexity and nuance as its predecessor, but it’s still a fun ride that shows Kurosawa’s consummate skills, even when he was simply satisfying Toho’s constant demands that he make more commercially-appealing films.

Producer/director Robert Aldrich acknowledged the two performers’ “monstrous” potential – and by unleashing them face-to-face, he became a ringmaster.

Complaints? Sure, I had a few: The liberal use of insta-sweat whenever the character in question is experiencing tension, Harvey's aforementioned accent, one over-used shot composition that places the action at a great distance with a giant-headed supporting actor in the extreme foreground. [Re-release]

The film is never less than gripping, and past a certain point, you have no idea where this movie is going. With neither the budget nor the technology for flashy effects, the filmmakers had to fall back on quality acting, writing, directing, and editing. They succeeded.

What makes Breathless a masterpiece along with its style is how Godard captures the overall malcontent, which still resonates with much of modern life as we know it and ultimately leaves us all breathless.

Like a TV sitcom where the locations of commercial breaks can be foreseen, after about twenty minutes of Butterfield 8, you can predict when a transition will conclude a scene.

The low-key, natural performances are dramatically offset by the mercurial and incandescent Lelia Goldoni, the emotional heart of the film.

It is so bad that it’s flawless.

Rarely has a film been cast with so many gifted performers who are either wrong for their roles or are given nothing to do.

It still has everything a viewer could want from a movie experience.

Room at the Top remains a highly satisfying and beautifully conceived study of the human experience. It is one of the most important films in the history of British cinema and, mercifully, it is still one of the most remarkable dramatic productions of all time.

Luckily, the attitude, the aggression, and the sex were let out in a burst of fire and they got it all on film.

For the performances and the atmosphere, it’s worth it.

Godzilla, King of the Monsters! is the story that began it all, laying the themes of Japanese kaiju that would endure for decades.

While it may not dig incredibly deep, Forbidden Planet was a cut above the schlocky fare that dominated the theatrical sci-fi circuit of the 1950s, and I dare say it provides more meat to chew on than many of today’s bloated, effects-heavy “event films.”