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.

This is easily one of Bava's crowning achievements as a filmmaker and one of the greatest horror anthologies ever filmed.

Two years after triumphing with the Audrey Hepburn masterpiece Breakfast at Tiffany's, Blake Edwards directs this crossed-wires ensemble caper, which stars David Niven as Sir Charles Lytton, a lothario and master criminal pursued by the bumbling Inspector Clouseau (played by Sellers).

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.