A film that defies categorization, The Wicker Man can be considered to be a horror film, a psychological thriller, a musical, or a melodrama. In reality, since it includes elements of each of those types, it literally has something for just about everyone.

A nearly flawless example of movie composition, with close examination revealing how carefully it was put together. For those who take a less studious and more visceral approach to movie viewing, it's also worth noting that Chinatown is a superior thriller - one that will keep viewers involved and "in the moment" until the final, mournful scene has come to a conclusion.

The Exorcist's strength is that it places character development on the same level as the horror elements, but it is not a ground-breaking motion picture. It is also too long, with a setup that could have accomplished the job with equal effectiveness in about 2/3 the time. [2000 re-release]

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

It works effectively as a period piece and, because of Roeg's atypical style, it retains a freshness and grittiness that allows it to work for a new generation of film-goers in much the same way it worked for those who experienced it four decades ago.

Watching Live and Let Die isn't a complete waste of time, but there's no overriding reason why anyone should go out of their way to see it unless they're a die-hard Bond fan or are curious about Roger Moore's first turn in the role.

It’s a must-see for those with a penchant for droll, avant-garde cinema or anyone fascinated more by technique than narrative. For others, it’s more of a curiosity than a can’t-miss production – a film that may fascinate for a while before starting to seem repetitive and overlong.

It combines stylish direction, an intelligent script, first-rate performances, and overpowering atmosphere into one of the most tense and absorbing thrillers ever to reach the screen.

The picture is a series of mini-climaxes, all building to the devastating, definitive conclusion... It was carefully and painstakingly crafted. Every major character - and more than a few minor ones - is molded into a distinct, complex individual.

Tokyo Story is as much a journey of discovery as it is an opportunity to reflect. The characters populating this film aren’t strangers. They are our parents, our children, ourselves.

Only a director in complete control can fashion something so effortlessly chaotic. What’s Up Doc? is one of the signature comedies of the 1970s whose throwback mixture of madcap hijinks and rat-a-tat-tat dialogue still works for a generation twice removed from its influences.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

Diamonds Are Forever is plagued with problems. After a promising start, the story devolves into idiocy.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

For the most part, Walkabout is an involving, occasionally hypnotic, motion picture. Some of the photography, including images of the outback and its denizens, is spectacular.

Scrooge is basically a harmless, fitfully enjoyable version of the timeless classic, and worth a look for those who have had their fill of the more serious adaptations.

Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)

It's rare for a feature film to attain the trifecta of entertaining, informing, and educating.

Patton remains to this day one of Hollywood's most compelling biographical war pictures.

The film contains some of the most exhilarating action sequences ever to reach the screen, a touching love story, and a nice subplot that has agent 007 crossing (and even threatening to resign from) Her Majesty's Secret Service. The problem is with Bond himself. Following Sean Connery's departure after You Only Live Twice, the film makers had to come up with a replacement. The man they chose, a model named George Lazenby, is boring, and his ineffectualness lowers the picture's quality.

Z is disquieting not only because the events actually happened, but because we sense they could happen again, closer to home.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

Not only does The Wild Bunch illustrate Peckinpah's mastery of his medium, but it presents a story that is effective on nearly every level: the emotional, the visual, and the visceral.

As an elegy to a perfect fusion of directorial mastery and an actor’s indomitable screen presence, it’s hard to imagine something more memorable and affecting than Red Beard.

It’s an uneven film with a tone that veers from playful to menacing. Despite numerous simplifications of the source material, it’s long and, with only a few exceptions, the songs are unremarkable and feel more like filler than organic elements of storytelling.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Watching this film demands two qualities that are sadly lacking in all but the most mature and sophisticated audiences: patience and a willingness to ponder the meaning of what's transpiring on screen. 2001 is awe inspiring, but it is most definitely not a "thrill ride." It is art, it is a statement, and it is indisputably a cinematic classic.

Although the first half still works – largely due to the performance of Anne Bancroft as the iconic Mrs. Robinson – the second half is a mess with only a couple of funny lines to recommend it.