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).