Once again, Field has crafted and grown-up movie that grabs you by the throat, drags you in and doesn't let you go until the very bitter end.

Basilio narrates his tale with such wit and wisdom that one comes away from the film wondering how much youthful potential is slowly being choked to death deep within the bowels of the earth.

This truly terrifying film version of the best-selling Blatty novel is far superior to the book.

The best version of James M. Cain's torrid, hard-hitting romance comes to startling life under Garnett's shrewd direction.

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.

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

A Star is Born captures wonderfully the hustle of Hollywood.

THE PASSION OF JOAN OF ARC is one of the all-time masterpieces of pure cinema, not only for its unparalleled use of camera movement, composition, and editing, but for its transcendent spirituality and intense emotional impact.

Repulsion has often been compared to "Psycho," but Polanski's film, rather than presenting a portrait of a psychotic killer from outside, pulls the audience into the crazed individual's mind. (Review of Original Release)

A remarkably revealing documentary.

The Longest Day is visually stunning--its extraordinary camera movement and Cinemascope photography brilliantly augmenting the meticulously reenacted battle scenes. The only thing bigger than the film's scope are its stars.

Charming, whimsical, and practically perfect, Local Hero reminds us of the great pleasures that British comedy used to routinely provide.

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

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.

Satisfies the heart and engages the mind.

Downhill Racer is fascinating viewing, even if the closest you've gotten to a ski slope is "Wide World of Sports."

Captures the sleazy allure of Manhattan like no other film.

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.

THE SACRIFICE is about a number of things, none obvious and none remaining wholly consistent from one viewing to the next; it is a poetic vision, filled with the symbolism peculiar to Tarkovsky's imagination. It is also a visually stunning, hauntingly beautiful, brilliant piece of art.

Master director Whale, here essaying his first musical, does some typically marvelous things with the camera and mise-en-scene and gets wonderful performances from his cast.

This film, Hitchcock's first contribution to wartime American propaganda, is as polished and suspenseful as any the great director would make.

Sure-footed thriller, beautifully photographed, with Ford's best performance thus far.

Few debuts have been as impressive or odd as that made by the voice of Claude Rains in this macabre classic based on the novel by H.G.Wells.

Not a frame is wasted in this taut, superbly directed, masterfully acted film, the first so-called "adult Western." (Review of Original Release)

What really makes The Thin Man an enduring classic, though, is the interplay between Powell and Loy, one of the greatest happily married couples ever to flicker on a screen.

In a series of touching and telling vignettes, American Graffiti follows a memorable crew of small-town teenagers through one momentous night in 1962. Based on George Lucas' own teenage hot-rodding days in Modesto, California, the appeal of American Graffiti is in its fragmentary scenes; the nervous camera jumps from character to character to present a powerful collage of American youth on the brink of maturity and the complex experiences of the coming decade.

Travolta gives a sensitive performance, as does the director's then-wife Nancy Allen. The film's emphasis on the role of sound technology in movie-making is unusual and instructive.

It is the epitome of filmmaking, a masterpiece for which Welles, one of the greatest practitioners of the cinematic art, will be forever remembered.