There is a lot of suspense (this isn't an action film like Ronin), and I was on the edge of my seat for most of the movie.

Kubrick originally planned Dr. Strangelove as a straight drama. That he realized the absurdity of the whole thing is a testament to his intelligence; that he pulled it off so brilliantly is a testament to his talent.

For true Ray Harryhausen fans, Jason and the Argonauts will remain one of his greatest feats. And if you bring yourself back to the era, you'll find a world of wonder yourself.

The film is absolutely beautiful, with some of the most gorgeous sets and images ever committed to celluloid. The three main actors are just incredible - the first two hours are carried almost solely on Rex Harrison's charisma and screen presence. Later, Burton perfectly portrays a deeply flawed man who will do whatever is necessary for love. Elizabeth Taylor anchors the entire film.

Despite some terrific race sequences, which Corman shot beautifully, the film, itself, is just a total bore.

The film never slips into cheap melodrama, and ultimately offers a remarkable portrait of humanity at its best and worst, not to mention an ideal to which all people should aspire.

Watching the film now, it seems like a bit of an anachronism. The story may be set in 1789, but the style and tone of the film is pure 1962. They simply don't make films like this anymore.

The movie is filled with great music, original choreography, and memorable songs. Along with a story that's a great update of Romeo & Juliet, it's really no surprise that the film is considered to be one of the best musicals ever made.

It's amusing and enjoyable at the same time, in a wholesome Pleasantville kind of way.

The Time Machine is an old-fashioned adventure that tries to remain as true to the original text as it could (the ending of the book isn't the same here, along with various other additions and changes) with an excellent score, great special effects, and a story that keeps you watching thanks to the excellent narration throughout the film.

Bad acting, awful script, glaring continuuity errors-- it's night! It's day! It's night again!-- nightmarish special effects, and the worst sets you've ever seen. It's a chucklefest all the way through.

It may be slow to begin with, but it all results in an unexpected finale that is sure to shock and stay with you long after the movie has ended.

Welles manages to wring engaging performances out of all of his actors, but what's most impressive about the film is the way in which the director makes use of every corner of the screen with deliberate precision.

Invasion of the Body Snatchers is an excellent movie about paranoia, conformity, and the need to "stay awake," or else become jaded, emotionally dead.

It's that rare movie that I will not only continue to enjoy as a moviegoer and all-around romantic, but recommend as a legitimate standard-bearer for the animated classics yet to come.

This is an amazing film, both for what it did in 1953 and what it still does today. It's a far better interpretation of H.G. Wells' novel than Spielberg's abrupt and lopsided film.

Stalag 17 is a black comedy before the term black comedy was coined.

Despite the fantastic basis of the story, the movie isn't dominated by its effects, or even the eight-foot-tall robot Gort. It's really just about an alien visitor trying to convince us to try and get along in an age where the nuclear threat is very real.

Though it may not add up to more than the sum of its parts, animation fans have come to appreciate Alice in Wonderland over the years for the care and effort put into it, despite its flaws.

It's a very good adaptation of the original novel that maintains the core themes and characters while at the same time making it distinctly "Disney". I

The glass slipper, the Fairy Godmother, Jaq and Gus - Cinderella is a parade of majestic moments.

White Heat is to the gangster genre what The Good, The Bad, and the Ugly was to Westerns: it took all the clichés, tropes and general violence of its genre and made it into art.

Double Indemnity is a masterpiece of Hollywood storytelling.

Where its successors might interpret or imitate its achievement of making a movie set in a confined space, Hitchcock evokes more important questions - many of them without answers - from his cross-section of characters, and creates an impressive and remarkably prescient perspective on our relationship with the world around us.

Despite its age, Bambi continues to dazzle and amaze.

The Wolf Man is one of a kind.

A time-honored classic filled with love, happiness and excitement.

Envisioned as a musical symphony come to life, Fantasia is a bizarre, almost trippy experience rich with hypnotic visuals, dazzling animation and beautiful music.

Strip away the rich scenery, catchy tunes and now familiar, beloved characters and Pinocchio amounts to little more than a series of awkwardly strung-together morality tales. It's likely that young viewers just discovering this film for the first time won't notice or care, but as adults considering where the film stands among the great animated classics, it's fair to say this still a masterpiece, albeit an imperfect one.

The scene where Dorothy opens the door of the house and steps into Oz and into color is striking.

Where Citizen Kane changed the way live action films were looked at and made forever, Snow White and the Seven Dwarfs did the exact same thing for animation. It remains one of the finest examples of the art form, and anyone who considers themselves a film snob or animation fan must have this on their shelf.

Without Cagney, this movie would still be memorable, but probably only as a minor footnote to the better gangster films to come. With Cagney's smart acting, this movie is a decent watch.

Curse of Chucky sees the return of the Good Guys doll you love to hate, but sadly he's back with a whimper, not a bang.