Dick Tracy succeeded in translating a classic comic almost perfectly to the screen. Some people may be turned off with Madonna being in the film, but if you can look past that, you'd find one of the best comic-to-film adaptations ever.

Gremlins 2: The New Batch is a great meta horror-comedy. It focuses less on scares, but makes up for it with great effects, a hilarious story, and awesome supporting characters.

Probably the only terrifying thing about this ludicrous excuse for a horror film – besides the fact that it's from the director of The Exorcist – is that Friedkin doesn't seem to realize it's a dreadful picture.

It’s not simply cashing in on the popularity of the TMNT cartoon, but is actually a thoughtful, emotional, and challenging movie about the loss and reconstruction of family. It’s got lots of hilarious one-liners and ninja action too, making it one of the most well-rounded comic book movies that’s not afraid to hold reverence to the source material while also having some fun with it.

While Cronenberg works, the two other main humans - Boone and his girlfriend, are flat and boring, mostly due to uninspired performances. Still, that's like blasting Star Wars for Mark Hamill's acting. While this isn't as great as Star Wars, it's in the same vein, and if Nightbreed had made some loot, I think we would have gotten some very cool sequels with a fantastic mythology.

It achieved a cult following for its uncompromising brutality, but it never really earned the critical or financial success many thought it deserved.

Akira is substance, and should be considered of the same weight as the works of creators like Disney, Spielberg, and Kurosawa.

This movie has always been a favorite when it comes to the nuttiness of Christmas and family, and it's still a riot. Have a merry dysfunctional Christmas.

Halloween 5 is a poor film by itself; the fact that it's filled with huge dangling plot threads that were given a bad pay off in the next sequel simply cements its badness.

At its core, Kiki's Delivery Service is about the conflict between becoming your own, independent person and relying on the support and comfort of others. Not every child who watches it will get that message, but like so many other Miyazaki's films, it strikes a chord deep down. And that's not the kind of thing you ever grow out of.

From its powerful opening line to the very end, Grave of the Fireflies is an important film that will prove to even the most stubborn naysayer that animated films can move you just like the "real stuff".

If Licence to Kill added more than just scenes with Q to lighten the load, if it provided a love interest as compelling as Vesper and more engaging than Lowell's whiny Pam Bouvier, this Bond could have been one of the instant greats, instead of one that is better appreciated with age. The movie is not perfect, but a lot of what works now in the series got its start in Dalton's last mission as James Bond.

If there is one thing that I've learned from Stephen Spielberg, and George Lucas it's that the easiest way to win an audience is to employ an antagonist that everyone hates, like the Nazis, or Stormtroopers. Producers Richard Donner and Joel Silver take a lesson in the first sequel to Lethal Weapon and pit Gibson and Glover against fascist dimplomatically-immune South Africans.

Another example of the explosive imagination that Miyazaki has. The world of the movie looks to use early 20th Century technology, yet it's filled with these giant airships and flying cities. There's a giant, yet lovable, robot that instantly becomes one of the most memorable characters in the film. Combine all of that with an excellent and memorable Joe Hisaishi score, and you have a jewel of animation.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Unlike The Fly, You probably won't remember much of this after seeing it, and when a movie boasts as being no better but equal to the original, you can be pretty sure it isn't.

What you don't expect is for the monster to look like (and be as harmless as) a hermit crab on steroids.

Hellbound is gorier, larger, and more accessible than the first. It rehashes the original at the outset so people can grasp it whether or not they'd seen the first and as a result is an easier film to enjoy.

Partially filmed on location in Chicago, the movie benefits from a snowy, urban setting that gives it a very different feel from most films in its genre. Hicks and Chris Sarandon (as the cop who killed serial killer Charles Chucky Lee Ray in the first place) are solid actors and brought a nice adult presence to the story.

Danielle Harris deserves a lot of credit for her work in Halloween 4. It's hard to find truly believable child actors in general, and in the realm of a film like this, it's easy to expect the worst, yet she is very credible and relatable and took an idea that probably had some fans cringing -- a little girl as the hero of a Halloween sequel! -- and made it work.

It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.

Outside of viewing the film as a child or with a group of pals on drunken Saturday night, watching a bunch of loosely stringed sequences of Killer Klowns attacking townsfolk only gets you so far. It's a fun picture. But nothing more.

Frank LaLoggia's 1988 film scared the living hell out of yours truly with its singular combination of hometown horrors and operatic tragedy.

While it's the characters that make the movie memorable, it's their actions that make the movie a classic. Filled to the brim with eye-popping stunt and action sequences, the movie is a thrill a minute romp that rarely lets up.

Despite this flaw, fans of the first film will still find things to like in the sequel.

The story itself is timeless and almost always funny. Of the many road trip comedies out there, Planes, Trains and Automobiles ranks among the very best.

The film works, thanks to a surprisingly fun cast, but its best not to take things too seriously and just enjoy the film for what it is -- a brilliantly madcap slasher send-up.

If you enjoy good horror or vampire flicks, Near Dark is one of the best.