Slant Magazine's Scores

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For 7,765 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,342 out of 7765
  2. Mixed: 1,490 out of 7765
  3. Negative: 1,933 out of 7765
7765 movie reviews
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  1. Valley of the Dolls
    Look, fun is fun, and there’s plenty of the kitschy brand to be had from the riot of late-‘60s production design and lurid plot developments.
  2. Navajo Joe
    Navajo Joe plays more like a ’50s B western in its fluid pacing, compact narrative construction, and hokey emphasis on star power than it does the kinds of sprawling genre re-workings common to its era.
  3. Cool Hand Luke
    Newman remains watchable and glamorous throughout, bloody, muddy or coated in torso-flattering sweat, but the film’s efforts to sentimentally humanize him by psychological revelation are clumsy.
  4. Wait Until Dark
    When the lights go out at the end of the film, so did the lights in the movie theaters.Terence Young’s tense cinematic adaptation so ruthlessly tightens the screws of tension that one could be forgiven for not noticing an earthquake, much less dimmed house lights.
  5. Point Blank
    Though Point Blank is rife with existential malaise, it is also one of the most ferociously sexy crime movies ever made.
  6. Bonnie and Clyde
    Though Bonnie And Clyde may have been conceived as a proto-European hybrid and The Graduate a California thoroughbred, the violent hemorrhage that closes the Depression-era/Vietnam-era touchstone makes as good a case as anything in filmed entertainment that American mass media operates in the declarative.
    • 85 Metascore
    • 75 Critic Score
    El Dorado
    Pangs of déjà vu might strike while watching El Dorado, as it’s a thinly-veiled remake of an earlier John Wayne film directed by Howard Hawks and co-written by Leigh Brackett for Warner Bros., 1959’s Rio Bravo. Though the stories are similar, El Dorado feels sharper, bolstered by Harold Rosson’s brilliant photography with scenes seemingly painted on celluloid.
  8. Bob Dylan: Dont Look Back
    Even 48 years after its release, and well into Dylan’s current phase of relative transparency, D.A. Pennebaker’s Dont Look Back retains something of a forbidden quality, a feeling that we shouldn’t be privy to the things it shows us.
  9. Chimes at Midnight
    Welles is at the height of his powers while reveling in the poetic force of Falstaff’s weakness.
  10. Persona
    Despite its elaborate meta-game-playing, which has had a pronounced and unquantifiable influence on film culture, Persona remains intensely alive and intimate.
    • 58 Metascore
    • 88 Critic Score
    One Million Years B.C.
    One Million Years B.C. ends where the story of humanity begins: in a seemingly endless saga of strife and solidarity that resonates down to the present day.
  12. Blow-Up
    Blow-Up is moving and influential for the chasms it understands to exist between people, and for its perception of art as unable to bridge those divides.
    • 75 Metascore
    • 88 Critic Score
    Django
    In a genre known for endless knock-offs, a trend that includes Django’s 30-plus sequels, Corbucci’s film is notable not only for the artistry of its construction, but also for the underlying anger that fuels its political agenda.
  14. Cul-de-sac
    Cul-de-Sac remains a searing reminder that Roman Polanski’s idiosyncratic grasp of the human mind was once evinced theatrically, rather than through narrative ferocity.
  15. Seconds
    A beautiful x-ray of middle-aged existential crisis, Seconds is arguably a second-tier John Frankenheimer funhouse of paranoia, but the same might be said of any film that isn’t The Manchurian Candidate.
  16. Au hasard Balthazar
    Au Hasard Balthazar possesses a strictly balanced, bemused-unto-neigh-indifferent attitude toward delineating between the wry and the glum, the sacred and the profane.
    • 55 Metascore
    • 50 Critic Score
    Torn Curtain
    Torn Curtain, which was a commercial success because of the drawing power of its stars, is an artistic flop.
  18. The Endless Summer
    True to its title, The Endless Summer exudes a blissful, mellow buzz that could easily be misconstrued as lazy or innocuous filmmaking.
    • 64 Metascore
    • 75 Critic Score
    The Naked Prey
    A purified chase film, Naked Prey nevertheless is at its most affecting in the childlike scenes between the main character and a young native girl (played by Bella Randles) he befriends along the way.
  20. Band of Outsiders
    More than lifting from and reconfiguring the artifacts of auteurist Hollywood, Band of Outsiders sees Godard parsing out his feelings for Karina, then his wife (they divorced soon after the film was completed), and meditating on the mercurial nature of his own preoccupations.
    • 66 Metascore
    • 88 Critic Score
    The Ipcress File
    In the end, The Ipcress File abandons its more low-key, nuts-and-bolts depiction of spycraft, and as such morphs from the pure antithesis of a 007 romp into something far closer to a self-serious send-up.
    • 81 Metascore
    • 88 Critic Score
    Variety Lights
    With its tale of a peripatetic band of low-rent theater types, Variety Lights incorporates many, if not most, of Fellini’s signature themes.
  23. The Train
    The Train makes unmistakably clear to us that heroism isn’t always black and white—that sometimes it’s simply about doing what’s right even if you don’t understand why.
  24. The Americanization of Emily
    Though a bit overstuffed with long-winded speeches, Chayefsky’s scabrously funny script brims with snappy, crackling dialogue.
  25. Mary Poppins
    The “Whistle While You Work” residue of domestic slavery that colors “A Spoonful of Sugar” aside, Mary Poppins is basically Long Day’s Journey Into Matriarchy (cathartic for some, terrifying for others).
  26. A Hard Day's Night
    Even when the band plays away from private eyes or songs simply play over disconnected footage of them having fun, the strength of their songcraft is stirring.
    • 85 Metascore
    • 75 Critic Score
    Harakiri
    Structured with intricacy and precision, the storyline alternates between present and past, using its extended flashback sequences to delay and then detonate narrative revelations like so many time bombs.
    • 73 Metascore
    • 100 Critic Score
    Marnie
    The film’s themes, along with its avalanche of formal signifiers, are all fused together in the magisterial hunting sequence.
  29. The Killers
    The Killers redux packs one lasting, significant, retrospective jolt of perversity that far eclipses any possible artistic intentions on the part of its creators though: the sight of future American President Ronald Reagan playing a baddie in his last film role before entering politics.
  30. Zulu
    A good platter for a great, underappreciated classic of British cinema (under the direction of American expatriate Cy Endfield)—light on supplements but strong in presentation.
  31. The Patsy
    The Patsy reflects a genuine affection for the artisans and jacks-of-all-trades that make careers like his possible.
  32. An Autumn Afternoon
    The progression of Ozu’s style seems to parallel that of Jacques Tati, who moved from the mutable likes of M. Hulot’s Holiday into the glass-cut inflexibility of Playtime.
  33. Black Sabbath
    Black Sabbath speaks to the vastness of Bava’s abilities in the realms of the terrifying and the supernatural.
    • 83 Metascore
    • 75 Critic Score
    The Naked Kiss
    It’s Sirk-on-a-shoestring, and twice as cynical.
  35. Dead Ringer
    The film, meekly directed far across the soundstage by former actor Paul Henreid, is a potboiler filled with oh-so-convenient plot twists and purely incidental characterizations.
  36. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    Dr. Strangelove is unique as an American studio film in that nearly every scene addresses its alignment of military action with sexual impotence and bodily excretion. It’s possibly the filthiest studio comedy ever made, even though there isn’t a single gross-out gag, curse word, or graphic image in its entire running time.
  37. America America
    Filmed with a cast of largely nonprofessional actors, America America immediately strives to impress its audience with the raw reality of its immigrant narrative.
  38. Charade
    Shot by Charles Lang, one of the greatest American cinematographers to ever live, Charade is some sort of miraculous entertainment, self-aware and self-parodying yet never distancing or detached. Hepburn is the audience’s funny and flighty proxy, allowing us the great pleasure of being seduced by Grant’s unpredictable charmer.
  39. High and Low
    High and Low is a masterful cinematic elevator connecting two warring social perspectives, finding a common ground between them in the pressurized corners of the classic crime drama.
    • 59 Metascore
    • 63 Critic Score
    It's a Mad, Mad, Mad, Mad World
    For a three-hour, epoch-ending epic made by a comedy neophyte, it yields a treasure of showbiz lore.
  41. Lord of the Flies
    Brook renders savagery with the despairing eye of a humanist, and with the irresolvable ambivalence of an artist.
  42. Dementia 13
    Dementia 13 has always been a chilling and confident horror mixtape, fashioned by a man who was a few years away from consecutively producing four of the most famous of all American movies.
  43. The Great Escape
    The Great Escape is that rare war film that doesn’t fully indulge in assumed nationalism, save for the fact that everyone speaks English. Sturges never touches on the essential hollowness and cruel pageantry of war, but he does the next best thing by depicting an international effort where victory, no matter how short-lived, depends on the cooperation of myriad talents, rather than the gruff can-do attitude of an unbreakable chosen one.
  44. 8½
    8½ works best as a self-deprecating comedy, a fact revealed most forcefully in the folly of film production on display.
  45. Cleopatra
    Cleopatra is, disappointingly, neither a visionary masterpiece nor a fascinating catastrophe, but something altogether more banal: an unusually intimate epic that falls very flat.
  46. Irma la Douce
    If not exactly an endearing experience on the whole, Irma la Douce is a fine example of Billy Wilder’s mid-career eccentricity and cosmopolitan curiosity.
  47. Hud
    Remarkably dull Hud more or less plays out as a home-on-the-range knock-off of Nicholas Ray’s brilliant Rebel Without a Cause.
  48. Sanjuro
    Sanjuro is still a lesson from a master in mounting choreography and sustaining momentum, though it remains more of an exercise rather than a work of flesh and blood.
    • 47 Metascore
    • 50 Critic Score
    The Young Racers
    The Young Racers mostly succumbs to the streak of pretension strongly felt beneath the hubristic surfaces of more than a few Corman features.
    • 75 Metascore
    • 75 Critic Score
    What Ever Happened to Baby Jane?
    That undeniable off-screen friction only helps grease the wheels of the film’s compulsive forward momentum, supplying a crackling energy to scenes wherein, among other gothic horrors, pet birds are served up for supper with relish.
  51. Cléo from 5 to 7
    Varda captures the fairy-tale essence of early-’60s Paris with a vivacity and richness that rivals Godard’s Breathless.
    • 97 Metascore
    • 88 Critic Score
    Jules and Jim
    It represents some of the first and most essential steps into a new age of filmmaking.
    • 69 Metascore
    • 63 Critic Score
    Experiment in Terror
    Credit the film’s modest virtues to Edwards’s undeniable verve as a visual stylist. Still, with a running time slightly over two hours, Experiment in Terror is a bit too protracted to count as an unqualified success.
  54. Good Morning
    This profound film reveals that nothing is below the purview of existential contemplation, even all matters of flatulence, and words as simple as “Good morning” are revealed to contain fathomless multitudes.
    • 79 Metascore
    • 75 Critic Score
    El Cid
    There’s no denying El Cid‘s lucid grandeur as it reaches its famous climax, a simultaneously triumphant and tragic portrait of the warrior as corpse that, like the best of Mann’s work, never neglects the human toll of heroism.
  56. Splendor in the Grass
    Inge’s scenario unravels alarmingly once the two would-be lovers start to drift apart thanks to Deanie’s nervous breakdown and the simultaneous (almost psychically connected) market crash of 1929, but the first half of the film is a tour de force of deferred urges, contortion acts of awkward intimacy, and the thrill of adolescence.
  57. Breakfast at Tiffany's
    Blake Edwards’s discontent-but-charmed portrait of a long-lost New York state of blithe is, like most Blake Edwards films, narratively scattershot but reliably fixated on the cinematic chemistry of social relations in a mod (and post-mod) era, which invariably boil down to genders and the extent to which individuals ascribe to their assigned sex roles.
    • 90 Metascore
    • 88 Critic Score
    The Hustler
    With solid performances, a great jazz score by Kenyon Hopkins, and a virtual clinic in how to do black-and-white cinematography thanks to Eugene Shuftan’s camerawork, The Hustler reaffirms your faith in the movies.
  59. Yojimbo
    Something of a textbook example of the perfect crowd-pleaser, Kurosawa’s tale is sociopolitical wish fulfillment via archetypal samurai drama, albeit with a twist or three.
    • 72 Metascore
    • 88 Critic Score
    The Guns of Navarone
    Gregory Peck, as Mallory, gives a wonderfully unperturbed performance, outdone only by the versatile coldness and comedy of Anthony Quinn. David Niven is the subservient but stylish chemist Miller, rounding out a film that ranks among the best war movies—for mayhem, fighting and a simple, sanctimonious story about heroism when it’s war at all costs.
  61. Blast of Silence
    Haunting, remote, and workmanlike, Blast of Silence may be the only film I’ve ever seen with a trip on the Station Island Ferry in which I expected a tumbleweed to flit across the deck.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    What remains most striking, and most moving, about Godard’s first feature is its sophisticated yet largely guileless faith in the filmic medium, a cinephilia untainted by smugness or cynicism.
  63. The Misfits
    A perplexing misfire more than a complete dud, The Misfits‘s true legacy remains in the personal histories of those involved with the production rather than in the far more exceptional careers of the artists who brought it to its dull fruition.
  64. 101 Dalmatians
    Cruella De Vil is so much a tour de force that she single-handedly snatches the movie away from any retroactive comparisons to the likes of The Rescuers or Robin Hood or any of the other post-classical Disney features whose sloppiness is their only saving grace.
    • 74 Metascore
    • 75 Critic Score
    The Magnificent Seven
    The Magnificent Seven fights an uphill battle in matching the scope and thrills of its source material.
    • 89 Metascore
    • 88 Critic Score
    The Hidden Fortress
    Kurosawa most often did his finest work when combining his idiosyncratic and popular sensibilities into humane, broadly accessible entertainments; it just so happens that The Hidden Fortress remains more unabashedly entertaining than most.
  67. Psycho
    Felt in the full impact of a theatrical screening (with the pleasure of seeing patrons reflexively kick or stiffen at the sight of Miles startled by her mirrored reflection), its power is not just that of a showman’s calibrated scare machine, but of a somber fugue on the trapped 20th-century creatures who inhabit its world, clawing but never budging an inch.
  68. The Bellboy
    The Bellboy clearly sets a standard of self-involvement and examination in Lewis’s work that is so successfully hermetic that it scarcely needs the approval of the audience.
  69. Bells Are Ringing
    It has the unfortunate effect of being a movie that seems stuck on a Broadway stage.
  70. The Apartment
    The tone of The Apartment differs from both those darkly moral movies and the filmmaker’s farces, finding a middle ground of somber tragedy that undercuts the awkward comedy of manners between the characters.
  71. Private Property
    Private Property abounds in inventive low-budget filmmaking while stress-testing a pulpy, dime-store premise.
  72. The Cranes Are Flying
    One of the greatest films of the Soviet era.
  73. The Mummy
    The Mummy is one of Hammer’s classics, cleverly fusing the human pathos of the original Universal film with the creature-centric physicality of the sequels the latter inevitably yielded.
  74. Shadows
    At 80 minutes, its cinematic flash fiction, and a suitable entry point into the lively body of work Cassavetes made.
  75. The Magician
    This piquant control over cinematic grammar doesn’t quite rescue the film from a laughably zombie-tinged climax and an anomalous deus ex machina denouement, but it makes The Magician one of Bergman’s more accessible failures, and collapses any suspicious connection between him and the fretful Vogler.
  76. North by Northwest
    The picture is hugely pleased with itself, but it’s too funny and expertly calibrated to mind in the least. Both Hitchcock and Grant raise relaxed confidence to masterpiece level here.
    • 56 Metascore
    • 75 Critic Score
    Plan 9 from Outer Space
    Plan 9 stands as a testament to sincerity run amok, and as a passionate display of artistic limitations, it’s as glorious as it is flabbergasting.
  78. Anatomy of a Murder
    Preminger had the confidence in his performers and faith in his intelligent viewers: a happy combination.
  79. Wild Strawberries
    Initially, Wild Strawberries appears to be an almost pointedly unsubtle coming-of-age story that’s been goosed with dime-store surrealism and male handwringing masked as intellectual engagement with humankind. But the bluntness is a misdirection that underlines the depth of Bergman’s empathy with his hero as well as his dedication to his real subject, which is the process of mentally freeing oneself from an insidiously limiting self-mythology.
  80. Some Like It Hot
    Magnificently paced and terrifically funny at nearly every turn, Some Like It Hot was imbued with an inherent distrust of capitalism and big business that Wilder regularly expressed in an only slightly covert manner.
  81. Imitation of Life
    The film isn’t only revolutionary for its aesthetic rigorousness but its rare fascination with white America’s difficulty relating to people of color.
  82. Sleeping Beauty
    Just as the film’s gorgeous backdrops suggest characters trapped in suspended animation, the many colorful balls of light that frequently circle their heads hauntingly convey the filmmakers’ idea of fate and love locked in a cosmic struggle.
    • 84 Metascore
    • 75 Critic Score
    My Uncle
    Mon Oncle is not Jacques Tati’s most ambitious film, nor his most democratic. It is quite possibly, however, his most didactic and depressing.
  84. The Seventh Seal
    The Seventh Seal, assisted by cinematographer Gunnar Fischer’s richly overexposed images, operates as though it contains the undiluted essence of life’s fueling dialectic formula. Occasionally it does, most notably in the terrifying arrival of the self-flagellants to a weak-willed village. But the road-trippers in Bergman’s follow-up, Wild Strawberries, achieve a far greater grace and clarity with only a fraction of the heavy lifting.
  85. The Big Country
    Although The Best Years of Our Lives remains Wyler’s most essential assessment of the American psyche, The Big Country is stunning for how it meshes the intimate strife of a particularly white American stripe of self-resentment with the epic vista of Technirama Technicolor.
  86. The Blob
    The heroes may be teenagers, but The Blob, though generally a goofy and enjoyable B-programmer ideal for watching while loaded in the middle of the night, is still one of the most pointedly reactionary of the 1950s’ alien-invasion movies.
  87. Vertigo
    Alfred Hitchcock’s rich and strange masterwork.
  88. Thunder Road
    The ubiquitously involved star’s charisma can’t completely overshadow a sluggish plot... Nonetheless, its hard-charging chase sequences make it a vintage Dukes of Hazzard-flavored noir.
    • Slant Magazine
  89. The Tarnished Angels
    Like Billy Wilder’s Ace in the Hole, which creates a damning critique of media circuses that would allow a man to die if it means increasing readership, The Tarnished Angels understands the innate human desire to look at beauty or terror as the potentially catastrophic fuel of public interest.
    • 90 Metascore
    • 63 Critic Score
    Paths of Glory
    Paths of Glory may be first-rate humanity, but it’s also second-rate art.
    • 88 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai
    Whereas Lawrence of Arabia and Doctor Zhivago feel more pictorial than cinematic, The Bridge on the River Kwai carefully builds its psychological tension until it erupts in a blinding flash of sulfur and flame.
  92. Peyton Place
    This was hot stuff in the mid-’50s, but beneath the sleazy coating covering the film (camp aficionados take note) is an unabashed and moderately retrograde plea for community openness.
    • 80 Metascore
    • 75 Critic Score
    3:10 to Yuma
    The offhand wryness of Elmore Leonard’s original story is nicely captured in Halsted Welles’s adaptation.
    • 71 Metascore
    • 88 Critic Score
    An Affair to Remember
    A remake by Leo McCarey of his own 1939 classic Love Affair, the film progresses as a graceful switch from romantic comedy to weepie melodrama, reflecting the director’s deep-rooted belief in the intricate bond between laughter and tears.
  95. A Face in the Crowd
    Strong performances and a fiery aggressive tone keep things moving, but A Face in the Crowd is dated and not particularly deep.
  96. 12 Angry Men
    What's most interesting about the intense deliberations that ensue, specifically when a piece of seemingly indisputable evidence is brought back into question, is how a fresh angle and perspective, usually born from Juror 8's critical thinking, can permanently alter the tone of the discussion.
  97. The Wrong Man
    The sense of moral responsibility in Hitchcock’s films may have never felt more imperative and succinct.
    • 84 Metascore
    • 63 Critic Score
    Giant
    Sitting through it is like cramming a decade’s worth of daily television-watching into a single sitting.
  99. The Bad Seed
    The Bad Seed might not have the lurid veneer of Oedipal conflict that turned The Good Son into a supreme guilty pleasure, but it’s got more false-façade performances than you could ever hope for.
  100. The Killing
    One of the great devils of 1950s American cinema.
  101. Ikiru
    Ikiru wows for its complicated interrogation (and innovation) of subjective, cinematic experiences of time and memory, but lulls in its commemoration of a wealthy, privileged man who finally decides to care after it’s absolutely confirmed he has no time left to live.
  102. Richard III
    Donning a doozy of a puttied schnoz, a slightly exaggerated limp, and a boyish, midnight-black wig, Sir Laurence Olivier feels more at home in the eponymous role of his own adaptation of Richard III than he does in any of his other storied roles, holding and releasing the succulent prose with unerring confidence and clarity.
  103. Invasion of the Body Snatchers
    This is the most disturbing spin on the invasion premise, because it still permits the simple, classical predator/parasite interpretation, but, at the same time, makes the infiltration total, because the snatchers don’t just take your body, your memories, your brains—they take you. All of you.
  104. The Burmese Harp
    Ichikawa Kon’s 1956 film The Burmese Harp is a tender almost-musical film about the horrors of war and the obliteration of identity.
  105. All That Heaven Allows
    The frothy May-September (well, closer to June-July) romance All That Heaven Allows is the fountain from which directors as disparate as Rainer Werner Fassbinder, Todd Haynes, and John Waters have all drunk, marking it as the most influential of the 20-plus films Sirk directed during the 1950s.
  106. El
    Though set in Mexico and ripe with authentic details from daily life, Él is less a portrait of machismo gone awry than it is a brutal and absurd glimpse at one man’s runaway paranoia.
    • 89 Metascore
    • 100 Critic Score
    Rebel Without a Cause
    Where the attitudes of "East of Eden" are hopelessly dated and broad, the poetic longing for connection in Rebel Without a Cause will always feel timeless.
    • 82 Metascore
    • 75 Critic Score
    To Catch a Thief
    Hitchcock and screenwriter John Michael Hayes posited voyeuristic spectacle as the essence of cinema in Rear Window; in To Catch a Thief they validate their thesis with plenty of spectacle to be voyeuristic over.
  109. The Night of the Hunter
    Perverse yet remarkably life-affirming, Night of the Hunter may be the best film ever made about spiritual perseverance.
  110. Lady and the Tramp
    Befitting its middle-ish chronological position, it’s not surprising that the serviceably cute but mundane Lady—a turn-of-the-century ditty about two love struck dogs from opposite sides of the gated community—might be the most ignorable, least assertive production of their golden era.
    • 72 Metascore
    • 63 Critic Score
    East of Eden
    Even viewers who acknowledge Kazan’s lack of visual imagination usually concede that nobody got better performances out of actors, but this last vestige of his reputation is in real need of examination.
  112. Blackboard Jungle
    Poitier’s acting is scalding hot. If The Blackboard Jungle is worth anything, it’s for bearing witness to a major star in the making.
  113. A Star Is Born
    Despite A Star Is Born’s musty jabs at movieland decadence in the wake of satires like Sunset Blvd. and The Bad and the Beautiful, it was the craft found in Cukor’s alternately splashy and shadowy mise-en-scène, and displayed by Mr. James Mason, that most greatly aided Mrs. Sid Luft.
  114. Brigadoon
    At least the dancing is good, and Vincente Minnelli’s restless camera gooses a plodding story into liveliness.
  115. Magnificent Obsession
    Magnificent Obsession was a decisive turning point for Douglas Sirk, kicking off a beloved string of loopy ’50s melodramatic masterpieces.
  116. The Caine Mutiny
    The Caine Mutiny is not distinctive filmmaking or storytelling, and its idea of ethical debate is relying on familiar archetypes and arguments. It sure is standard, though. It’s like the well-constructed house that’s not meant to be distinctive, but was made to endure.
  117. Monsieur Hulot's Holiday
    Tati biographer David Bellos called 1953’s Monsieur Hulot’s Holiday “Tati’s most perfect film,” and in many ways, it’s difficult to disagree with this sentiment in terms of tone and form.
  118. Dial M for Murder
    What tends to make even lesser Hitchcock films shine is his innate gift for directing performers, and this accounts for many of the pleasures of this ditty.
  119. Crime Wave
    A relentlessly unforced potboiler that gazes at noir through the looking glass.
  120. Creature from the Black Lagoon
    A much more antic, exploitative experience than the Frankenstein/Wolfman/Mummy/Dracula pictures it stands alongside, Creature from the Black Lagoon perfectly typifies the transition from older, more European horror styles into bloodthirsty schlock and ever-cheaper thrills.
  121. Hondo
    Hondo is a mash of the usual tropes, a whirlwind of Native American war paint, cavalry stripes, a sawdust-saloon poker game, a few fistfights, plenty of gunfire, and every moral equation coming to a satisfactory balance by the time the credits roll.
  122. The Band Wagon
    Only musical theater people will plug into this love-fest, breaking their arms patting themselves on the back. That’s entertainment?
  123. It Came from Outer Space
    Inspired by an outline by Ray Bradbury and modified for the screen by Harry Essex, It Came From Outer Space remains the granddaddy of the ’50s atomic-scare pictures.
  124. House of Wax
    It’s Price that gives House of Wax its characteristic balance of elegance and lurid theatricality.
  125. I Confess
    I Confess ultimately reveals itself to be one of Hitchcock’s most successful examinations of the tension between public image and private turmoil.
  126. Peter Pan
    Peter Pan, in retrospect, seems much more a footnote among the studio’s 1950s output.
    • 54 Metascore
    • 50 Critic Score
    The Star
    A threadbare, bargain-basement Sunset Boulevard, The Star features Bette Davis as Margaret Elliot, a washed-up actress hellbent on continuing her movie career.
    • 84 Metascore
    • 88 Critic Score
    Limelight
    A beautiful, melancholy meditation on aging and inspiration, and a personal film that, on account of Chaplin’s own diminishing popularity and prospects stemming from accusations of supposed communist sympathies, exudes a very real weight in each of its rich, elegant images.
    • 85 Metascore
    • 75 Critic Score
    The Quiet Man
    The Quiet Man remains one of the purest distillations of this charismatic filmmaker’s diverse artistic nature.
  130. The Tales of Hoffmann
    If The Tales of Hoffmann fails as an emotional journey, it is sensational as a music video.
  131. Singin' in the Rain
    Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
    • 91 Metascore
    • 88 Critic Score
    The African Queen
    Bogart slyly draws upon his past performances here—men of weary-eyed cynicism and faded idealism—to give Charlie’s rudderless existence an extra-textual charge.
  133. Rashomon
    The film is still one of the most glorious testaments to the frustrations and exhilarations of chasing an unvarnished truth.
  134. Miracle in Milan
    This beautiful presentation of Vittorio De Sica’s fantastical portrait of poverty and human fortitude helps make the argument that the film is more than just a curio in neorealist history.
    • 78 Metascore
    • 88 Critic Score
    On Dangerous Ground
    The urban harshness of the city is contrasted with the austere snowy countryside for some of the most disconcertingly moving effects in all film noir. Despite the violence and the steady intensity, a remarkably pure film.
  136. The Day the Earth Stood Still
    Released in the midst of the Korean War and the prime of McCarthy, the film achieved a unique relevance for a “spaceman” movie by unambiguously advocating for peace and grounding its pulp story in social reality.
  137. Alice in Wonderland
    This lack of force-fed moralizing, coupled with its diffuse plot and hazily psychedelic imagery, makes it hardly surprising that the film’s revival came about when it developed a cult following.
    • 70 Metascore
    • 88 Critic Score
    The Tall Target
    As in Reign of Terror, Anthony Mann fashions a noir mini-masterpiece out of incongruous period reconstruction.
  139. Strangers on a Train
    Strangers on a Train is also simply a great thriller, yet another illustration of Hitchcock’s awe-inspiring ability to convey more with a single image than most directors can with minutes upon minutes of belabored set pieces.
  140. Sunset Boulevard
    Sunset Boulevard posits that the business and process of making films can often turn writers and directors into soulless scavengers of narrative detritus, performers into howling husks of wasted talent.
  141. The Damned Don't Cry
    The Damned Don’t Cry is an efficient, fast moving exercise in melodrama, hardly memorable and at times putrefying in its reliance on hokum, cliché, and bullshit sentimentality.
  142. The Asphalt Jungle
    Blood and trauma make an irresistible mix in John Huston’s The Asphalt Jungle.
  143. The Rules of the Game
    Low comedy walks hand and hand with tragedy and beauty throughout; the film is frothy one minute, nearly apocalyptic the next, and so you’re never fully allowed to gather your bearings.
  144. Cinderella
    Despite its prodigious charms, it has probably destroyed more lives than any other Disney film, forcing a specific, unrealistic romantic archetype that truly does only exist in fairy tales onto generations of impressionable children, who would grow up desperate, needy, and crushed.
    • 75 Metascore
    • 75 Critic Score
    Sands of Iwo Jima
    Allan Dwan’s film is an intimate rendering of a monumental event, featuring John Wayne in one of his most emotionally complex roles.
  146. Young Man with a Horn
    The non-musical performances are shallow: Douglas is forceful but one-note, Day is as square and wholesome as a glass of milk, and Bacall purrs along in the same faux-bad girl performance she’s given for the past 60 years. But I suppose that’s fitting for a morality play this black and white, where wild jazz, liquor, and loose women cause the downfall of man.
  147. Gun Crazy
    Lewis, through sheer force of will, turns the script’s easy ways out into the essence of blunt, adolescent sexual flowering.
  148. They Live by Night
    Ray’s plaintive artistry lends this weepy noir a melancholic beauty.
  149. Under Capricorn
    Though Under Capricorn’s dark and twisty narrative eventually unearths everyone’s secrets, it’s the swooning camera that most fully taps into the class and sexual tensions that consume the characters.
    • 97 Metascore
    • 100 Critic Score
    The Third Man
    Although he’s only on screen for a fraction of the film’s running time, Lime (Welles) stands out as one of the screen’s most chilling embodiments of the banality of evil, and a perfect stand-in for Third Man’s vision of moral breakdown in post-WWII Europe.
  151. White Heat
    White Heat’s ultimate message: love’s a bitch…even crypto-incestuous love.
  152. Neptune's Daughter
    As if trying to put quotation marks around its disposability, 1949’s Neptune’s Daughter uses a perpetually underwhelmed narrator to undercut its central love story, surrounded by polo antics and swimwear fashionistas.
  153. The Set-Up
    Robert Wise’s The Set-Up isn’t noir by any serious definition, its boilerplate fatalism undone by overbearing moralizing and the fact that Ryan’s boxer is too one-dimensionally good to register as tragic.
  154. Force of Evil
    Garfield’s likably unlikable protagonist provides Force of Evil with a semblance of cohesiveness, even if the film often feels like the product of dueling fetishes and pet symbols.
  155. The Snake Pit
    As Virginia grapples with her inner demons, as well as a memory loss that leaves her disoriented and unsure of who she can trust, The Snake Pit periodically transcends its archaic psychological trappings to become an empathic examination of a woman battling both the internal and external forces that seek to fully erase her sense of self.
    • 73 Metascore
    • 88 Critic Score
    Rope
    A crime for most, a privilege for some is how Rupert classifies murder, but Hitchcock's eye-am-a-camera technique in Rope is after more than Nazi-superman residue still lurking after WWII.
    • 96 Metascore
    • 88 Critic Score
    Red River
    It’s a seemingly antithetical approach which separates Hawks’s cinema from its contemporaries and, in the case of Red River, shifted the moral viability of the western genre all at once.
  158. The Paradine Case
    This all-star courtroom thriller is also an underrated study of a master artist’s social demons, embodying the very essence of the auteur theory.
  159. The Treasure of the Sierra Madre
    The Treasure of the Sierra Madre is as enduring a classic as has ever come out of Hollywood, and arguably among the greatest, but the film is admittedly not without its share of rough spots.
  160. Black Narcissus
    Black Narcissus impishly keeps watch over the Archers’ canon with a sunken, rabidly prismatic eye.
  161. Nightmare Alley
    Edmund Goulding’s Nightmare Alley viscerally understands the lurid appeal of carnivals and acts of illusion.
  162. Shoeshine
    Notwithstanding the veracity of the American-occupied urban locations he captures, De Sica doesn’t innovate or subvert expectations in the manner of the contemporaneous war trilogy of Roberto Rossellini, and his plotting with principal screenwriter Cesare Zavattini doesn’t rise above the level of a vivid potboiler with a mild bent for muckraking.
    • 87 Metascore
    • 88 Critic Score
    Odd Man Out
    Odd Man Out is indeed a character study wrapped in the guise of a sociopolitical thriller, and a work which accordingly plays better when accentuating the moral and personal complexities of the former through the aesthetic prism of the latter, shedding the weight of topical investment even as the shadows of its influence hang literally and figuratively on the film’s dramatic landscape.
    • 89 Metascore
    • 75 Critic Score
    It's a Wonderful Life
    Without overlooking It’s a Wonderful Life‘s lapses into populist bathos, it’s necessary to rescue the Frank Capra film from its status as an untouchable American “classic.”
  165. The Best Years of Our Lives
    If The Best Years of Our Lives emerges as a more contemporary-seeing film than almost anything else to which its ingredients could compare, it’s because of how it wrestles with the burden of patriotism. The nation’s problems are right there in plain sight, just as clear as cinematographer Gregg Toland’s typically precise deep-focus shots.
  166. Notorious
    Love is a dark, corroded obsession in Alfred Hitchcock’s Notorious, a black-velvet biocide brimming with notes of tabloid titillation, spy-versus-spy nonsense, and romance as rotten as a half-eaten Granny Smith left out in the summer sun.
    • 76 Metascore
    • 75 Critic Score
    The Stranger
    As distinctively Wellesian as Citizen Kane, and packing nearly as many technical wonders.
  168. Mildred Pierce
    Though its craft is accomplished, the film never gets deep under one’s skin the way it ought to.
  169. The Life and Death of Colonel Blimp (1945)
    Few other British films from that period seem to mythologize the pre-war period of Churchill's youth and early career quite as potently as Colonel Blimp.
    • 65 Metascore
    • 50 Critic Score
    The Picture of Dorian Gray
    Picture of Dorian Gray isn’t awful, though it’s certainly an instance in which an outright debacle would have made a much more interesting film.
  171. The Body Snatcher
    Even if the narrative threads aren’t as tightly focused on exploring a complex theme as one might hope, The Body Snatcher nevertheless manages to still send chills, and predominately through Wise’s fleet direction and Karloff’s unflinching embodiment of a real-world monster.
  172. Meet Me in St. Louis
    Vincente Minnelli’s most acclaimed musical, Meet Me in St. Louis is a fresh breath of stale air, a tart ode to nostalgia.
    • 95 Metascore
    • 75 Critic Score
    Double Indemnity
    Visually drab and flabby around the edges. Its seamy tale of murder is not layered in any way; what you see (or, in Wilder’s case, hear) is what you get.
  174. Gaslight
    Gaslight is an expertly directed and evenly paced slow burn (and Dame May Whitty is a stitch, though underused, as a nosy neighbor lady), but its lack of a sound moral and psychological center renders it totally transitory and forgettable.
    • 78 Metascore
    • 100 Critic Score
    Lifeboat
    Lifeboat is actually much more complicated than it first appears. Its emphasis on moral debates in dialogue can seem a little dry, but Hitchcock’s shifting sympathies guarantee our guilty involvement with the characters until he builds to a climax of intellectual and spiritual excitation.
  176. Saludos Amigos
    Saludos Amigos and its sequel (or, more accurately, expansion), The Three Caballeros, had a shelf life significantly shorter than that of your standard MRE. Together, they kicked off nearly a decade’s worth of anthology-based wastes of time and resources that all but derailed Disney’s manifest destiny to rewrite children’s dreams in the corporation’s own latently art deco, actively anti-twat image until Cinderella put the needle back on the record.
  177. Casablanca
    The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.
    • 94 Metascore
    • 100 Critic Score
    Shadow of a Doubt
    Hitch’s habit of taking us to the edge of the abyss and then returning us with a wink, so often resulting in unconvincing happy endings, here seals one of his most pitiless visions of a monstrous cosmos admitted only to be denied.
  179. Cat People
    This subtle, glancing trust in our ability to read the true story between the lines is pivotal to Cat People’s sense of being simultaneously vague and explicit, succinct yet freighted with baggage.
  180. Now, Voyager
    Now, Voyager is the stuff of young lovers and hare-brained idealists, and if it can feel pretty foolish at times, it’s unforgettable for how sincere and affectionate it is toward one particularly time-honored cliché: that only fools falls in love.
  181. Bambi
    While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch, a poem to the simplicity and purity of natural life.
  182. To Be or Not to Be
    Many of the film’s pleasures, then, derive from watching these characters successfully use the tools of the stage (improvisation, sense memory, prosthetics) to successfully subvert the Nazis.
  183. Sullivan's Travels
    Preston Sturges jammed volumes of sociological concerns into a 90-minute satire with Sullivan’s Travels, Hollywood’s greatest comedy.
  184. Woman of the Year
    Woman of the Year certainly has its other auxiliary charms: beautifully textured lighting by cinematographer Joseph Ruttenberg; a luminous, if limited, performance by Fay Bainter as Tess’s motherly aunt; and some enchanting simulations of soft winter snowfall. But it’s hard not to feel berated, in a time that’s seeing the resurgence of a pernicious nationalism, by both the film’s anti-feminist slant and its insistent compulsion to put a box around Americanism.
  185. They Died with Their Boots On
    Even if historical erroneousness intermittently undermines the film’s outlandish attempts at lionization, They Died with Their Boots On endures as one of the finest Flynn-de Havilland collaborations, providing a grand stage for the duo’s playful, poignant rapport.
  186. Dumbo
    In its scant 64-minute running time, the big-top melodrama of Dumbo reduces me to a blubbering, mucus-drizzling wreck at least once with every viewing.
  187. How Green Was My Valley
    Maybe because How Green Was My Valley doesn’t delve as deeply into the heart of darkness as Ford did in his earlier The Grapes of Wrath, it remains one of his most curiously underrated films.
  188. Citizen Kane
    I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow’s nest that has formed through the film’s ever-expanding histories. And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.
  189. Here Comes Mr. Jordan
    Death is a many-splendored thing in Here Comes Mr. Jordan, which treats the possibility of an afterlife not with somber religious symbolism, but a keen sense that a human being’s mortal end must be understood for its corporeal difficulties.
  190. The Philadelphia Story
    Add Hepburn’s persona, beautifully explored here in all its wonder, and Stewart’s likeability, and George Cukor’s sensible, subtle, and lovingly unrushed direction of a firecracker script…the result is a studio picture far deeper and richer than its whimsical surface style might lead you to believe.
  191. The Letter
    Like Frankenstein’s monster in the Universal horror classics, The Letter keeps its prize creature too long in the shadows. But a Davis movie cannot withstand scrutiny without her, and even a bad Davis movie where she’s hamming and mugging and even humiliating herself is more fun than practically no Bette at all.
  192. Fantasia
    It’s unquestionably among Disney’s masterpieces.
    • 89 Metascore
    • 88 Critic Score
    Foreign Correspondent
    Where the film separates itself from the director’s other early studio work and, indeed, many films of the period, is in its ambition and scope of its production. The aforementioned set pieces are not only memorable, they’re among the most impressively mounted action sequences to that point.
  194. They Drive by Night
    They Drive by Night never coalesces into a coherent whole, but as far as sturdy ’40s Hollywood melodramas go, it’s a pretty sweet two-for-one movie deal.
  195. Rebecca
    A key film in Alfred Hitchcock’s evolution as a master explorer of sexual neuroses.
  196. The Grapes of Wrath
    Too many films these days trivialize poverty as an ironically, tastelessly over-produced pageant to earn kudos. The Grapes of Wrath is flawed, but it captures that shiver of panic that grips anyone for whom the money for the next meal is unknown. The film remains a vital document of the perversion and torment of the fantasy most commonly known as the American Dream.
  197. Pinocchio
    Pinocchio redeemed Disney from the parlor trickery of Snow White and suggested animated features could indeed dance without strings.
  198. His Girl Friday
    One of the greatest and most mercenary of all American comedies.
  199. The Shop Around the Corner
    The charm of the gimmick in Lubitsch’s take (directing a script by Samuel Raphaelson, who had collaborated with the German-born filmmaker on comedies and melodramas alike) is passed over quickly in favor of studying both its effects on those involved, as well as the dynamics of the workplace at large.
  200. Destry Rides Again
    Above all, Destry Rides Again is fun, with a variety of stars and character actors utilizing their charisma with an expert sense of ease and offhandedness.
  201. The Roaring Twenties
    Climaxing with a tableau that’s as iconic as it is melodramatic, The Roaring Twenties revels in a relativism that keeps its momentum fresh and elusive.
  202. Jamaica Inn
    Alfred Hitchcock’s Jamaica Inn would have been better titled The Gangs of Jamaica Inn, since the film is thoroughly concerned with groupings, allegiances, and the ways class standing relates to moral obligation.
  203. The Wizard of Oz
    A true amalgam of creative forces individually pooling their studio-contract talents like a hive of bees.
  204. Only Angels Have Wings
    The other reason why Hawks's film can't be approached as a pure sociological interrogation is that it's, quite visibly, a Hollywood production with certain inescapable commitments to entertainment convention. This isn't to downgrade the movie, though, as there's a reason why Hawks and other Old Hollywood filmmakers have become so revered.
    • 91 Metascore
    • 75 Critic Score
    Love Affair
    Unlike many romantic comedies of the current age, life is decidedly not what you make of it in McCarey’s films; instead, it comes at you hard and cruel, and if you’re lucky you’ll find the right person with whom to weather the storm.
    • 93 Metascore
    • 88 Critic Score
    Stagecoach
    If this is the Old West of our dreams, it’s one that exists in an outsider’s limbo, away from society’s rules, alternating between the breathtaking breadth of the American landscape and the Germanically shadowy lighting of Ford’s claustrophobic interiors.
    • 98 Metascore
    • 88 Critic Score
    The Lady Vanishes
    In less skilled hands, the film’s slow start would be a problem. Thanks to thrilling visuals and an effortless performance by Redgrave, Lady Vanishes is a lively companion piece to Hitchcock’s other magnificent British-made hit, The 39 Steps, about an innocent man mistaken for a spy.
  208. Bringing Up Baby
    Bringing Up Baby has some delightfully comic sequences, for sure. But I’m less inclined to remember the dynamics of the gag than Grant and Hepburn’s timing.
  209. Snow White and the Seven Dwarfs
    If it’s possible for a parable to be too simple to even qualify as a parable, the convincingly dim Snow White represents the dopey standard.
  210. The Awful Truth
    The Awful Truth is a perfect farce, devoid of any fat, in which Lucy and Jerry’s fantasies and schemes topple after one another like figurative dominoes.
  211. A Star Is Born
    William Wellman’s 1937 version of this oft-told tale, of the rising starlet and the plummeting alcoholic has-been she refuses to cast aside, is usually regarded as the second-best of the lot, a few steps behind George Cukor’s 1954 remake, which has the unfair advantage of being one of the unimpeachable masterpieces of American film.
  212. My Man Godfrey
    La Cava’s supple but cutting romantic comedy is one of the finest works of class-conscious comedy in Hollywood history.
  213. Swing Time
    Swing Time has some of Astaire and Rogers’s mightiest set pieces, which are intertwined to reflect their characters’ evolving relationship.
  214. Show Boat
    A surprisingly nuanced, if at times woefully dated, attempt to depict the complexities of what W.E.B. Du Bois famously identified as the problem of the 20th century: the color line.
    • 86 Metascore
    • 88 Critic Score
    Desire
    When Dietrich sings the Friedrich Hollander/Leo Robin song “Awake In A Dream” to Cooper, her purring, off-key voice envelops us in a world of addictive movie fantasy, presided over by two very different masters locked in a tantalizing creative affair.
  216. Captain Blood
    Errol Flynn’s wicked, wicked charm helps keep this high seas adventure afloat.
  217. Mutiny on the Bounty
    For Lloyd, Thalberg, and the writers, the point of the film was to tell a compelling story and, like the Bounty’s inebriated physician creating various tall tales to explain his wooden leg, facts and meanings ultimately just got in their way of crafting a great entertainment.
    • 93 Metascore
    • 100 Critic Score
    Top Hat
    Every musical number works, and the mistaken-identity plot is pleasant enough, even if there’s too much emphatic dithering from the supporting players toward the end.
  219. The 39 Steps
    Like Rear Window later on, this charming, masterfully made British spy adventure from 1935 is a sigh of doubt, perhaps even a cry of anguish, disguised as a slick pop bauble.
  220. The Man Who Knew Too Much
    Produced in England in 1934, The Man Who Knew Too Much was perhaps the first of Alfred Hitchcock’s films to openly attempt the autonomously cinematic, aggressively syntactic perfection with which he would later become synonymous.
  221. It Happened One Night
    Even now, It Happened One Night carries the unmistakable tenor of a breakout hit, fueled by confidently zippy repartee and manic comic invention that almost none of the innumerable pretenders to the throne of romantic comedy can match.
  222. Freaks
    Today, hardcore fans have a way of trivializing the film’s moral significance, some calling it a mere “masterpiece of shock cinema.” This is to seriously underplay the film’s blistering humanity and the audacious aesthetic and philosophical lengths to which Browning goes to challenge the way we define beauty and abnormality.
  223. The Public Enemy
    There’s little denying the power of Cagney’s presence, from the first moment he’s on screen, he radiates such a brash Fenian cockiness you can imagine kids at the time flocking out of the theater and cocking their caps just like him. It’s a performance so perfect in its intensity that any other quibbles about the film ultimately recede into insignificance.
  224. The Front Page
    Milestone’s direction is only sporadically inspired.
    • 99 Metascore
    • 88 Critic Score
    City Lights
    The first great peak in City Lights, the boxing scene, may be the most brilliant single comedy sequence of his career, not least because of the participation of Hank Mann, who plays the Tramp’s Bluto-like opponent in the ring, and Eddie Baker, who plays the referee.
  226. All Quiet on the Western Front
    Anti-war statements of the cinema in the subsequent 80 years have occasionally surpassed Lewis Milestone’s technically and artistically groundbreaking film, but few can match it for relentless despair or elemental fury—both on and off the battlefield.
  227. Blackmail
    While the film lacks the feverish, autocritical neuroses of Hitchcock’s mid- and late-period masterpieces, it often superbly plumbs notions of guilt and vulnerability, all the while cheekily satirizing Scotland Yard as a swayable arbiter of justice.
  228. Man with a Movie Camera
    The blatant staging and rich emotional undercurrent of Vertov’s documentary footage presage Werner Herzog’s ecstatic truth mantra, and was a far cry from the utilitarian social-realist mandate that would soon drain Soviet cinema of this experimental edge.
  229. The Passion of Joan of Arc
    The Passion of Joan of Arc remains the moment that [Dreyer] guided his medium to new heights, and also crafted a work that would endure outside of any specific context.
  230. Wings
    Seen today, Wings impresses mostly with its enormous scale—its appearance of having been made with obscene amounts of money.
    • 90 Metascore
    • 100 Critic Score
    The Circus
    It is Chaplin’s great elegy to the lost art of music-hall pantomime and, for that matter, the soon-to-be lost art of silent-film comedy.
  232. The Lodger: A Story of the London Fog
    A showcase for director Alfred Hitchcock’s intense study of the German Expressionist movement, The Lodger: A Story of the London Fog boasts artfully animated intertitles, plunging shadows, and oppressive camera angles.
  233. Sunrise
    A horn of cinematic plenty continuously spills from Sunrise, not only in its production design and Murnau’s dreamlike images (rendered by a pair of American cinematographers in the German émigré’s first Hollywood film), but in an unswerving commitment to the varied tones of screenwriter Carl Mayer’s scenario.
  234. Battleship Potemkin
    A persistently political work salvaged by its unforgettable grasp of motion.
  235. Intolerance
    Likely the most influential film ever made.
    • 89 Metascore
    • 50 Critic Score
    The Seventh Continent (1989)
    By concentration exclusively on humanity’s negativism, Haneke proves to be as damagingly reductive of life’s possibilities as the emotional malaise he sets out to expose.
  237. Atarrabi & Mikelats
    A challenge inherent to a parable of this sort is that evil, being so seductive, can make good seem dull or prissy by comparison.
  238. When It Melts
    When It Melts is a film that lives and dies on the games that it plays with audiences.
  239. Dying
    The film’s diligent script and nuanced performances are such that the depressing material stops short of turning into a depressing experience.
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