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.