You may find yourself passing a very enjoyable couple of hours with the oddest of odd couples. 

The action scenes here are just lame, and given the choice between good action and lame story (as we had in You Only Live Twice) and good story and lame action, I'll take the action every time.

It is a damn good detective movie.

If you are tired of watching the flatfoots who play by the rules and go home to the faithful wife, just kick back and watch my man Shaft in action. He'll remind you what an alpha male detective was all about, I ain't jivin' you, Bumpy.

Like all the best and most beloved family films, there's plenty in this film for adults to appreciate as well as kids.

McDowell is as good as ever here – this time playing Cornelius – while Kim Hunter is hugely sympathetic as Zira.

While Vanishing Point isn't the ultimate car chase movie as Tarantino would make you believe, it's certainly layered with fascinating subtext and few decent chase elements to keep action fans at bay.

Watching real planes crashing into real planes on a runway is flatout exciting, and the bombing sequence here is easily the equal of anything that Michael Bay could do.

A workmanlike sequel, it lacks the wit and intelligence of its predecessor.

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.