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.

Great stuff, if you can stomach the dated look and content.

I just can't get enough of the mid 60s/70s Disney animation styles. With still rough lines, you actually get to see more of the animator's handiwork as opposed to the perfectly clean lines that you find in today's animated movies.

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.