You may argue whether it’s “good”, but damn it if Sleepaway Camp isn’t a super fun, crazy and, most importantly, an incredibly memorable movie

Never Say Never Again never reaches the escapist thrills of vintage Connery and Moore; it cares too much about getting sued than it does about giving the actor a vehicle worth coming back to.

Pieces is a work of manic inspiration whose weirdest and wildest moments are strangely as integral as the ones bound indelibly to its utterly conventional plot. It's silly, it's absurd, it makes no sense, and whole scenes come and go without a link to anything else in the film, but it may be some of the most fun you'll have being scared at the movies.

A genuine masterpiece of B-movie awesomeness. It's surprisingly imaginative, ambitious and off-the-wall. It's got goofy puppet creatures, it's filled to the brim with nudity and sex, and padded with plenty of gags, gore and graphic violence. It's the stuff of B/C-movie dreams.

The wafer-thin story and cookie-cutter characters are laughably standard. Then again, there is a part of me that enjoys the fact that the filmmakers didn't try to make this meaningful, they just want the audience to sit back and stare at this world (and Teegra's curves) in all of its Frazetta-inspired glory.

Maybe if it looked like Edwards cared about the movie it might have been something more. Even so, without Clouseau, what The Curse of the Pink Panther brings us is staged prop humor, and a number of indignities courtesy of the make-up and wardrobe departments.

As a whole the film was funny, but the lack of a living lead, led Trail to being more about the editing than the story.

Design and artistry here is the primary draw of The Dark Crystal, not necessarily the writing or the performances or the direction (Henson and Frank Oz shared the directing responsibilities for this one), although the are no glaring missteps in any of those areas.

What was boring and dull to our 12-year-old selves back when Dad was watching this film 25 years ago is now a thoroughly engrossing and satisfying film experience, and a reminder that what is old can be new again -- whether it's Newman's Galvin's outlook on life, an old courtroom drama premise, or a movie revisited after a quarter century lapse.

I really like the sequel. No, I'll go one step further – I love the sequel. It's missing some major players, both in front and behind the camera. But really, Airplane II has some seriously funny gags.

It's not high art, that much is certain, but the original Slumber Party Massacre is a fun, gory good ride riddled with scares, flesh and humor.

First Blood is not the Rambo movie we initially think of when the character is mentioned. No, it’s much better than that.

The film is creepy, violent and sometimes very clever.

A movie that takes a while to get going, but once everything starts to come together you end up having a good time. If you're into detective films or are just looking for something atmospheric, then Hammett is a safe bet for a quiet night of mystery and intrigue.

While not as sweeping as The Warriors - lacking that film's epic underpinnings - Class of 1984 is a goofy jolt of low-octane ultra-violence.

A young Jennifer Jason Leigh is exceptional, and Judge Reinhold provides a solid central character that nearly everyone in the film relates to.

A lesser installment in the series.

The words "overblown" and "pompous" often came to mind. At other times, though, everything comes together-- music, images, and theme-- to really make a stoner go "whooooah."

Hearts are ripped out, heads are smashed, and there's plenty of flesh to be seen. If that's what you crave for a night of retro viewing, this is your flick.

The Long Good Friday is arguably the best British gangster film ever made due to its politically-charged story and the performances of Bob Hoskins and Hellen Mirren.

It's pleasant, and while it's a bit sloppy, I rather enjoy the unclean look of the animation.

In what could be the one of the best opening movie scenes I've ever seen, for example, Kermit, Fozzie and Gonzo hover next to the opening credits in a hot air balloon, wondering how soon they will finish.

The effects might not hold up, but the performances by the likes of Smith, Olivier and other classically trained British actors, as well as Ursula Andress, elevate this to something more than a throwaway fantasy adventure from the early '80s.

History of the World: Part I might not be the best effort from Brooks, but it still remains one of his crowning jewels – a testament to bravado irreverent humor and biting wit.

No one will mistake this for Quality Cinema, and it's marred by a confusing, murky ending. But there are some good thrills along the way.

Despite all the cinematic thievery and homage, The Funhouse manages to stand on its own as an eerie, slow-brewing slasher that builds quite a bit of effective tension and dread leading into the more generic final act.

Certainly, the performances are cheesy and the scripting decidedly non-Shakespearean, but the film remains a terrifying and entertaining offering to the god's of 70's/80's horror. And those gods were good, indeed.

While the movie has some good sequences, as a whole it never seems to come together - the pacing is all off.

De Niro's performance is one of legend.

Terror Train doesn't really hold up, but it does offer a fun dose of low-brow slasher mayhem.

Battle Beyond the Stars might not rank up there with Star Wars, but it certainly tries hard, and it's an admirable experience filled with B-movie awesomeness, and plenty of nostalgia.

It's a fun film that presents an interesting scenario and raises a unique possibility. What it lacks in depth and acting skills it more than makes up for as a thoroughly enjoyable popcorn film.

History fans will probably love the film for its authenticity. Everyone else on the other hand might have a hard time sitting through it. It is extremely interesting if not wholly entertaining.

Sure, it's silly and exploitative, but it's also a hoot to watch, particularly for gorehounds, Corman fans and cult enthusiasts.

The chase scenes are top notch. Unfortunately, the movie has a lot of slow parts as well. Another bizarre aspect of Mad Max is that the voices were re-dubbed. Director George Miller, decided that the American public wouldn't be able to understand the Australian accents. It's not as bad as it sounds, but it's definitely a noticeable annoyance.

The big problem with this movie is its length. And the story it tells was really better suited for an episode of the series.

Rock 'n' Roll High School is like a ride on a music rollercoaster. For some, the ride will be a dizzying one they'll never want to endure again. But for others – mostly cult/punk enthusiasts – this is going to be one ride worth experiencing over and over again.

Layered with great performances and an interesting story, The Lady in Red is a good, if somewhat dull exploitative play-by-play of the events that lead to Dillinger's death.

It lacks guidance or any real momentum. When Bill Murray isn't on screen, the air is sucked out of the picture, leaving audiences anxiously waiting for his next scene.

Where Night of the Living Dead was a straight up horror film (with some minor social commentary buried beneath the ever-present threat of the shambling undead), Dawn is something a bit more intriguing. Sure, much of Dawn's first thirty minutes or so has the same unrelenting feel of the earlier film, but once our heroes arrive at their final destination, the tone changes.

Admittedly, I Spit on Your Grave is a gruesome, deplorable little exploitation picture that, on the surface, seems to enjoy it's rape sequences just as much, if not more, than the vengeance-filled finale. But on a more subtle level, the film is a surprisingly well-executed revenge story that plays like a brutally raw nerve – a terrifyingly stark view of the real horror of rape, painted by bizarre, skewed cinematography, gory violence, and a keen sense of creeping atmosphere and dread.

The "live action" footage simply looks "blah" when interacting with the animated characters. It breaks apart the look of the movie, and really hurts it.

And on this particular trek, the 70's duo find themselves in comedic situations which hit and miss in relatively equal measure.

Whether Piranha was made as an intentionally cheesy spoof of Jaws or a cynical bargain-basement imitation, the fact remains that it's just bad enough to qualify as good. As long as you don't take it too seriously (after all, the filmmakers clearly didn't).

Much of the film's success is thanks to the delightfully enigmatic cast, and a sharp script that allows for the perfect balance of story and irreverent silliness. There's not a weak link in this cast.

Directorially, last minute replacement director Jeannot Szwarc has done a nice job and there's some really nice photography here.

Perhaps a slightly more engaging, focused narrative would have saved the film. As it stands, we're treated to 82 minutes of confused storytelling that spends the entire first half torturing our two principal leads in the most bizarre ways imaginable. Perhaps Corman fans should skip the first half of the film and simply watch the actual "Deathsport" sequences instead. The film will likely play much better as a 40-minute short.

This extremely generic plotline feels very underwritten, almost as if it was one of many episodes of a Witch Mountain TV series rather than a three-years in the making sequel to a successful children's sci-fi adventure film.

It's a pretty awesome, ambitious and sometimes very cheesy, apocalyptic sci-fi actioner. It just doesn't hold a candle to Star Wars, its cinematic big brother.

Great stuff, if you can stomach the dated look and content.

I just can't get enough of the mid 60s/70s Disney animation styles. With still rough lines, you actually get to see more of the animator's handiwork as opposed to the perfectly clean lines that you find in today's animated movies.

The film was designed to be an homage to the John Wayne classic Rio Bravo directed by Carpenter's idol Howard Hawks.The parallels between the film and the westerns that Carpenter holds dear are clear from the get go, none more so striking then the sight of the gang warlords mingling their blood in a bowl in for a symbolic blood oath that echoes similar scenes that found Indians becoming blood brothers in westerns long since forgotten.

The made-for-TV feel of the production, bland characters and familiar story leads to a pretty forgettable outing.

Taken for what it is, Logan's Run delivers a fun ride and a glimpse at another era, even if it's probably not the time frame the producers had in mind.

The Bad News Bears isn't the greatest film ever made, but it's definitely better than its two sequels and worth its cult classic status.

It takes a little while to get going, but once it does, it never lets up, proving a cathartic anti-authority picture driven (both literally and figuratively) by Howard.

For all of its social, political and cinematic significance, Dog Day Afternoon is a terrifically entertaining and emotionally devastating film to boot.

If you've never been to a midnight screening of Rocky Horror, please go. It's a delight. And if you can't make it, this Blu-ray attempts to bring that experience home. Just don't watch the film without, at least, some form of audience participation. It's just not much fun without it.

3 Days of the Condor is a classic spy thriller. It remains just as relevant and thrilling today as it did in 1975. It's a film built around political metaphors and pessimism, trends that continue to spiral and evolve throughout our culture even today, with events unfolding that oddly mimic this film's once outlandish plot.

While Race with the Devil is a bit slower, it's a haunting, unforgettable experience.

One of the most forward looking science fiction tales of the 70's.

In the end, Let Sleeping Corpses Lie is one of the best zombie films that no one's ever seen. It owes a great deal to Romero's Night of the Living Dead, yet it also manages to stand quite nicely on its own merits. While the film does have a few script and pacing problems, it more than makes up for them with it's excellent atmosphere and solid gore work.

The Return of The Pink Panther is so devoid of life that NASA wouldn't bother to send probes to investigate it.

Director Frankenheimer does his best to keep the film moving, and he succeeds admirably in the final act, but the 90 minutes of dreck that precede the finale are of little interest, perhaps even tainting one's enjoyment of the first film, which is something no sequel should ever do.

As a genre picture, and as a nugget of pure unadulterated cult entertainment, Death Race 2000 is one of the best around.

34 years after it opened, this remains a creative and charming family film.

Roger Moore's second outing as 007 does not do the subject matter justice. Or the character. Or any paying member of the audience.

If the first film could be considered to glorify violence and organized crime, this one shows the consequences of that life. It also serves as a thinly veiled metaphor for American capitalism and its destructive effect on family, cultural heritage, community identity and morality.

The Texas Chain Saw Massacre chopped up our expectations more than 30 years ago, and for that we will always remember - and be thankful that some experiences do stay up on the screen.

Filled with nudity, violence and loads of B-movie fun, Big Bad Mama strikes the perfect balance between exploitative raunchiness, and great low-key action and excitement.

That's Entertainment won't enrich your mind, won't move you emotionally (except for maybe Kelly's classic rain sequence, but who hasn't seen that one already?) and unless you're already a fan of the musicals, probably won't entertain you much. And if you are a fan of those classics, you're better off getting them individually.

Chinatown's deep focus cinematography, dialogue direction and long takes are identifiably Polanski.

Dirty Mary Crazy Larry is a classic heist chase picture driven by a somewhat dated premise and paper-thin characters. But the film makes up for its faults with dazzling stunt work and great action.

Caged Heat is a nudity-filled sleaze-fest, that much is certain, but it's also a haunting little trip with plenty of memorable thrills.

Redford offers just the right amounts of arrogance and innocence to make Hooker a believable hustler but half-hearted scoundrel.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

If you want plot and thespian displays, well, look elsewhere. For action, you can't top this film.

There's a sense of beauty and dread that's cleverly injected into George Lucas' American Graffiti, a tone poem and ode to the music, cars and culture of the early '60s. On one level, the film is a staggeringly thoughtful slice of Americana – one night in the eyes of several young teens looking for love, adventure and fun. But on another level, there's a genuine sense of apprehension. The world is quickly catching up to our heroes, and soon they'll be flung head-first into Vietnam, the hippie movement, and a social revolution

If you like the Blaxploitation flicks of the 70s, this is your candy. If you liked Shaft, but thought it was a bit slow, this one has a little more action, and budget, and its logic matches Shaft in Africa (leads come out of nowhere and thugs appear at the unlikeliest of times).

Live and Let Die isn't the best of the series by far, but it's not the worst either. The fun doesn't last due to the interference of the flimsy plot, centered around one of the least threatening Bond villains ever.

It still seems like a stunning achievement to this day.

You may find yourself passing a very enjoyable couple of hours with the oddest of odd couples. 

The action scenes here are just lame, and given the choice between good action and lame story (as we had in You Only Live Twice) and good story and lame action, I'll take the action every time.

It is a damn good detective movie.

If you are tired of watching the flatfoots who play by the rules and go home to the faithful wife, just kick back and watch my man Shaft in action. He'll remind you what an alpha male detective was all about, I ain't jivin' you, Bumpy.

Like all the best and most beloved family films, there's plenty in this film for adults to appreciate as well as kids.

McDowell is as good as ever here – this time playing Cornelius – while Kim Hunter is hugely sympathetic as Zira.

While Vanishing Point isn't the ultimate car chase movie as Tarantino would make you believe, it's certainly layered with fascinating subtext and few decent chase elements to keep action fans at bay.

Watching real planes crashing into real planes on a runway is flatout exciting, and the bombing sequence here is easily the equal of anything that Michael Bay could do.

A workmanlike sequel, it lacks the wit and intelligence of its predecessor.

I don't want to make the film sound overly heavy by pushing the art side of it; it can be appreciated on so many levels, by children, stoned hippies, or Andy Warhol fans.

Romero’s zombies are terrifying in black and white, but one could even argue who was the true monster in the movie: the undead or the living?

Lee Marvin and Charles Bronson in the same picture. How much more bad-assedness do you need?

Grand Prix is not just a wonderful 'race movie'; it's a brilliant cinematic achievement, period.

It may not be the most accurate, well produced, or entirely awe-inspiring film adaptation of the caped crusader, but it is certainly the most amusing.

The Americanization of Emily is worth a look for its fine performances and dynamite writing.

What holds Mary Poppins back from being absolutely perfect (as opposed to practically perfect) is due to the episodic structure of the story. Since scenes and songs were drawn from a range of stories from the book series, they play as a series of random adventures, not an organic progression of a single tale.

Ultimately, A Shot in the Dark is not superior to The Pink Panther, as many have suggested, but a somewhat predictably derivative sequel that maintains its predecessor's form but not substance.