Hayley Mills plays twins in this innocent, fast-paced comedy, a favorite of countless youngsters in the 1960s. An enjoyable, corny Disney picture with a memorable soundtrack featuring tunes sung by Tommy Sands and Annette Funicello.

Since much of the action takes place in the tiny apartment, director Petrie had to pull out all the stops to keep it from being stage-bound, and, with the help of cinematographer Lawton, he succeeded.

After nearly three hours Fellini's relentlessly enigmatic, non-committal approach leaves you wishing for something more than poignant imagery and moody, self-obsessed characters. (Review of original release)

There's lots to recommend this shoestring picture, not the least of which is Baron's acting ability.

This is a zanily inventive piece of work, with delightful special effects, which set the style for a long series of live-action Disney films.

What Stravinsky's "La Sacre du Printemps" is to 20th-century music or Joyce's Ulysses is to the 20th-century novel, Godard's first feature, BREATHLESS, is to film.

Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast do still haunt one's viewing experience.

Played for comedy, the film never quite works, and Curtis can't quite handle his role.

The story, a romance with an interesting detective twist, is combined with exquisite caricatures of both humans and dogs.

WHERE THE BOYS ARE is plenty moralistic, yet the film is not without a naive sense of charm.

Director Donen takes us for a few romps in the green countryside to ease the claustrophobia, but this gratuitous meandering only serves to make us realize how hidebound the story is.

It's a tongue-in-cheek movie that avoids the sappy sentiment of so many "family" films and concentrates on sheer entertainment instead.

Though the film is overlong, the story is movingly told, the production values are high, and Ernest Gold's Oscar-nominated score is considered a classic.

Big, funny, tender and humane all at the same time, The Sundowners is a true "family" film, without any of the cloying connotations of that term.

A very frightening adaptation of the John Wyndham novel about a small English village that becomes the victim of unfriendly aliens.

Glossy trash with the star at full throttle, it's the quintessential La Liz movie.

Very nearly a classic, this Americanization of Akira Kurosawa's The Seven Samurai does a good job of mirroring the major themes and attitudes of the original while re-creating that monumental film in an occidental setting.

Spartacus is still a remarkable epic--one of the greatest tales of the ancient world ever to hit the screen. It's especially strong, and more typical of Kubrick, in the first half--before satire gives way to sentiment.

While nothing to rival Hitchcock, the film's look and direction make it a worthwhile effort. Doris Day makes the switch from light comedy to suspense fairly well, creating a believable victim, while Harrison, his usual debonair self, adopts a sinister air.

Akira Kurosawa's THE HIDDEN FORTRESS is a paradigm of the modern adventure epic--a marvelously entertaining blend of a simple but strong plot, exhilarating action scenes, tongue-in-cheek humor, and a solid philosophical underpinning.

Richardson's direction of this unhappy little gem gives off the appropriate dull glimmer while being economical and inventive.

Ralph Bellamy is superb as Roosevelt, capturing every nuance of a man who was the most photographed and listened-to politician of his generation. Surpassing Bellamy, though, is Garson, who doesn't play Eleanor Roosevelt, she becomes her.

It's got a jet black sense of humor that becomes increasingly apparent upon repeated viewings and there's no doubt that it is masterful filmmaking. Hitchcock himself approached it almost as a technical joke...The film is a textbook example of audience manipulation, as Hitchcock shifts our identification from character to character with the alacrity of a magician.

Chilling special effects highlight a rather gory production.

A free-wheeling, uninhibited all-star romp, Ocean's Eleven set the pace for the "caper" films of the 1960s and 1970s.

This smashing science-fiction adaptation of H.G. Wells's famous novel has more creativity in every frame than most latter-day rip-offs have in their entirety.

Inherit The Wind acutely captures the farcical Monkey Trial and offers the awesome talents of two double-Oscar winners, Tracy and March, in their only film together.

At best, this is a kiddie movie with a few laughs for the easily pleased adult.

Gimmick or no, the film is really rather silly and not particularly scary.

Vincente Minnelli's film might have benefited from less emphasis on dialogue and more on the musical numbers ("Just in Time" and "The Party's Over" among them), but Holliday is adorable and efforlessly "real" in one of the best roles of her sadly abbreviated career.

This wonderful tale is told with a brisk, imaginative pace and the special effects--whereby Darby interacts with the tiny leprechauns--are marvelously executed, and sometimes frightening.

Price is wonderful as the spooky owner, but the other three players are merely adequate. But still a superlative Corman/AIP effort and a great beginning to a varying but always interesting series of horror films.

The Apartment captured one of the singular images of early '60s America; the immense office (designed by Alexander Trauner) in which the human workers, seated behind endless, perfectly aligned rows of identical desks, appear completely subordinate to the dehumanizing mechanisms of conformity and efficiency.

The village is filled with nay-sayers and depressing townsfolk, but Pollyanna soon changes matters by always managing to find something good in every situation, seeing the bright side of even the blackest occurrences.

Generally free of the party line one usually associates with Soviet films of its period, THE CRANES ARE FLYING is an antiwar love story, set during WWII, which centers on the romance between pretty young Samoilova and sensitive factory worker Batalov.

It was the first time that homosexuality and cannibalism had ever been handled by a mainstream studio as a commercial venture. Let's hope that it remains the last time those two practices will be presented in tandem.

Though it occasionally goes over the top with its melodrama and lacks some technical credibility, On The Beach remains a powerful, well-acted, deftly photographed film

This remake really can't compare with the 1932 original and Lee is given no chance to flesh out his character in the haunting manner that Boris Karloff did, but for fairly standardized movie horror, this flick isn't half bad.

Predictable but magnificent and satisfying.

The film perfectly captured a specific time and place, illuminating simple truths regarding the human condition, while unveiling an important, powerful, and visionary new force in the American cinema.

The first of the witty, well-produced sex comedies featuring Day and Hudson.

The Magician is still fascinating, presenting a myriad of challenging ideas about magic, reality, and the nature of film itself. The acting, as in typical in Bergman, is exceptionally good, with Bjornstrand a standout.

NORTH BY NORTHWEST has everything--thrills, suspense, mystery, and black humor, as well as dark undertones of sexual exploitation and covert political machination.

Most of Wood's films have this strangely direct feel to them, but Plan 9 From Outer Space is definitely the tightest synthesis of the man's personal idiosyncrasies and his deep desire to tell a story that everyone would love.

A superbly restrained piece of filmmaking, with Zinnemann directing in simple, unadorned style and Hepburn giving a truly radiant performance.

Courtroom histrionics given sizzle and sex by Otto Preminger and Duke Ellington's jazz.

A simple story carried into the stratosphere by the glorious music.

Possibly Ingmar Bergman's finest film and a landmark in film history.

The humor is spotty but when it works, it is hysterical. Raves go to Terry-Thomas for producing some riotous comic moments.

Rio Bravo is an excellent film featuring strong, proud, but very human characters who fight against their various handicaps and pull together to do a job and do it right.

Room at the Top memorably conveys the snobbery, poverty, desperation, and politics of class in provincial England.

SOME LIKE IT HOT expands a one-joke premise with hysterical results, due in no small part to the contributions of the near-perfect ensemble, with each of the major characters shining like a perfect jewel. Lemmon and Curtis are marvelous as the men-turned-women, creating believable characters and generally eschewing the lower forms of camp.

Wilby's father and the neighbor's dog get all the credit, but younger viewers will delight at knowing who really performed the heroics.

A vivid and carefully produced work of poignancy and loss.

If Sirk exploits the material for all it's worth and seems to be sardonically allowing the artifical genre to devour itself as he sits back and watches, at the same time the weepie aspect is so melodramatic as to tear the sobs from your throat.

The attention to movement and detail is stunning, with multiple layers of action filling the frame. The highlight of the film, the fight with the dragon, is terrifying, exciting, and brilliantly executed, though some youngsters may find it a bit too scary.

This film captures the disillusionment of returning WWII vets, and brilliantly addresses itself to many of the director's characteristic concerns--masculine fear of domestication and attendant resentment of women; the tensions of masculine friendship; women's complicity in their own oppression; the compromises demanded of artists functioning under capitalism.

This is adult, intelligent stuff, marvelously shaded by the amalgamation of talents.

Less a condemnation of technology than of its worshippers, MY UNCLE is simultaneously entertaining, intelligent, and technically inventive.

What's most important here is that THE SEVENTH SEAL, for all its downbeat aspects, is so gripping as to be entertaining in an enlightening way. Less austere and more visually striking than some of Bergman's later films.

Sturges's direction, given the confining nature of the settings, is masterful, and the cinematography headed by Howe and pieced together by many others is sometimes stunning.

A huge, sprawling western with just about everything: brilliant photography, superb music, an intelligent script, and excellent performances, including one from Heston that is one of the best of his career.

Though the political lesson drives the movie, the action is also effective as the odd couple flees from their oppressors. This is an engrossing depiction of racial tensions and an oppressive penal system.

Jack H. Harris, the cheapie producer who went on to make the forgettable Mother Goose A Go-Go, struck it rich with this silly picture that gave McQueen his first starring role after a few supporting jobs in Somebody Up There Likes Me and Never Love A Stranger.

The performances are the thing in this film version of the Tennessee Williams stage triumph, led by Ives, repeating his stage role like a force of nature.

The film is both fun and frightening, and can also be viewed (however modest its intentions) as a commercialized techno-version of Franz Kafka's allegory Metamorphosis.

Overbaked but enjoyable, and a banquet for the eyes, thanks to the visual wonder of the Minnelli-Beaton teaming.

As in the first, THE CURSE OF FRANKENSTEIN, he concentrates upon the figure of Cushing as basically a well-meaning doctor who runs a charity hospital but is the victim of undue prejudice. The gory effects, however, come out the same, with this one surpassed in its shocking effects perhaps only by Warhol's version.

VERTIGO is also a masterpiece of filmmaking which includes one of the most important technical discoveries since the dawn of cinema--the dolly-out, zoom-in shot, which visually represents the dizzying sensation of vertigo. The result is a shot unique to Hitchcock, unlike any other before in film, one which will always bear his stamp.

This has become a minor cult classic and is one of Mitchum's more interesting (and bizzare) efforts.

Bloody well done. Hammer finally gave the Dracula legend the treatment it deserved here, entrusting it to the brilliant director of The Curse of Frankenstein, Terence Fisher, who injected glorious life into the familiar material.

Under veteran helmer Roy Ward Baker's solid direction, Kruger makes a surprisingly sympathetic "enemy" protagonist, and one can't help but root for the brave and determined young German in his escape attempt.

The entire film, in fact, is one of the better submarine dramas ever made, tense and claustrophobic, with a minimum of dalliances back at the base (in defiance of the Hollywood dictum that no movie without a love interest can succeed).

The story is simply told and absorbing, with excellent performances all around.

Dietrich steals it. WITNESS FOR THE PROSECUTION is a witty, terse adaptation of the Agatha Christie hit play brought to the screen with ingenuity and vitality by Billy Wilder.

This nightmarish descent into dark entertainment has so much weirdness going on it's amazing.

The best-ever adaptation of a Faulkner novel for the screen, directed with passion and perception by Sirk.

Their attachment to the dog will serve as a test for their strength and love in this powerful and moving film.

This is a harrowing and still very effective antiwar film that ranks with Lewis Milestone's epic All Quiet On The Western Front in its power.

This intelligent and exciting WWII tale, masterfully helmed by Lean (at the start of his "epic" period), features a splendid performance from Guinness as Col. Nicholson, a British officer who has surrendered with his regiment to the Japanese in Burma in 1943.

Not to be confused with the suggestive, subversive melodramas of Sirk and Minnelli, this is the kind of hypertensive trash that gives melodrama a bad name, cynically tempering its naughty bits with smug moralizing.

All shook up and enjoyably bad, JAILHOUSE ROCK captures early Elvis in all his leg-quivering, nostril-flaring, lip-snarling teen idol glory.

Directed by actor Malden, the film is a tightly structured piece that forces its audience to think about the difficult issues it raises. Malden makes excellent use of his cast, wringing out emotion without bathos and adding flashbacks to Korea at crucial moments.

The camerawork and cutting during the intense racing scenes are particularly strong, but racing fans will probably find the film more enjoyable than those looking for an involving plot.

The film is basically a two-character piece featuring Woodward and Cobb and probably would have made a very good play. Cinematically, it's lacking on several levels.

Cagney is riveting as Chaney (who died in 1930 at the age of 47), enacting the many great roles the silent star made famous in startling cameo performances.

This is a landmark western, redefining what the genre was capable of doing, and is one of Daves's best works.

This film is one of the most effective tearjerkers ever made and is given sophistication and style by its consummate lead actors.

LOVE IN THE AFTERNOON had many faults and yet, as the song goes, "with all it's faults, we love it still."

Christopher Lee is excellent as the mute monster, but this is Cushing's film all the way.

A raw, penetrating, and terrifying portrait of humanity.

Solid, expert "town" Western, but lacking the fuel of passion. Still it's a landmark Western--more than any other of its era, it gave the genre major film status.

Pulp sci-fi classic.

The bleakest of Hitchcock's films, this stark, deliberate probing of a man wrongfully accused is almost wholly based on fact, creating its drama from a celebrated New York City case.

Although Baby Doll feels tame today, the cinematography and appropriately sleazy setting still have a sizzling effect, especially in a notorious porch-swing tryst between stars Carroll Baker and Eli Wallach.

The ultimate in lush melodrama, Written on the Wind is, along with Imitation of Life, Douglas Sirk's finest directorial effort, and one of the most notable critiques of the American family ever made.

All of this is played for laughs, and the songs aren't half bad.

GIANT confirms Taylor's skills as an actress; she's entirely believable even when she ages by just having her hair greyed.