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.

As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.

The movie does offer its share of thrills and cheesy, unsophisticated fun. Just don't watch it if you're planning any air travel soon.

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.