Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

For those who expect a tightly-written mixture of the detective and science fiction genres, Time After Time is bound to be a disappointment. It's more of a lighthearted fantasy/romance with a few thriller elements thrown in.

It has been said that a Monty Python movie is only successful if it offends everyone in the audience at least once. By that measuring stick as well as nearly any other, The Life of Brian is an unqualified triumph. It makes us confront our foibles and laugh at them.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.

If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures.

There's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made.

From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.

Being fascinating and unique, two qualities unquestionably in evidence here, don’t automatically deserve praise and, because of the film’s high quotient of tediousness, I find it impossible to recommend to any but the most devoted of experimental art film lovers. It works very well, however, as a cure for insomnia.

The film has too much surface beauty not to earn it a recommendation, but Days of Heaven satisfies only on a sensory level.

Grease works as a musical, a comedy, a light romance, and a gentle satire of teenage life during the '50s. In part because of its persistent high spirits, it's a delight to watch, even 20 years after it first appeared on the screen.

Close Encounters of the Third Kind is unquestionably a great movie.

For the first time in three films, Roger Moore starts to unearth a personality for Bond.

Like all great craftsmen, Lucas has managed to fashion this material in a manner that not only honors the original sources, but makes it uniquely his own. Hacks rip off other movies; artists synthesize and pay homage to their inspirations.

Freaky Friday is motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial. It will please those who seek it out, and probably won't horrify or disgust anyone who ends up seeing it for other reasons (dragged along, bribed, or otherwise coerced). There are enough clever and/or funny moments to provoke laughter from even a scowling 13-year old boy who wants to be next door watching Terminator 3 for the third time.

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish entertainment.

The basic storyline has been done to death over the years; this is still one of the most effective and successful applications of the formula.

Carrie is just a bad movie, with only Spacek's performance making significant portions of it watchable. And the film has not improved with age. It looks just as cheap, cheesy, and ineptly made today as it did when it was first released.

It's a dark, dark comedy that ruthlessly skewers the news industry on a stake, then roasts it alive.

One of Scorsese's most influential and disturbing films on the big screen. [20th Anniversary Release]

Although the picture has not aged as well as some of its contemporaries, its themes remain germane, the story has lost none of its punch, and the performances retain their freshness.

The movie is not realistic, but the strong element of fantasy doesn't limit its ability to captivate and intrigue. That's because the characters and their relationship rise to the top and arrest our attention from beginning to end.

The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.

There is so much in this film that it cannot all be absorbed in one viewing. Nashville demands to be seen repeatedly, if only so that the movie-goer can recognize previously missed elements. This repeatability is one of the traits of a masterpiece, and, regardless of the criteria applied, Nashville surely must be considered as a modern classic – a motion picture whose scope and influence extend far beyond what is displayed on screen during its 160-minute running time.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

The quality of the humor - irreverent, smart, and challenging - is one of the things that differentiates Monty Python and the Holy Grail from so many other motion picture comedies.

Rarely does The Man with the Golden Gun take anything seriously. Mary Goodnight is as clumsy as they come. Pepper and Nick Nack are cartoonish. There are more jokes-per-minute than in any other Bond film. Even John Barry's score is less earnest than usual, and the opening song is ridiculous.