Beautiful, haunting, poetic, and intensely personal, THE NIGHT OF THE HUNTER is a unique, terrifying masterpiece.

Stands separate from the rest, in a pantheon, a true cinematic masterwork of sight, sound, intelligence, and most importantly--passion.

To quote Olivia de Havilland, "Everytime I see it, I find something fresh, some shade of meaning I hadn't noticed before."

A gripping, beautifully structured picture and a tour de force from British director Carol Reed...It's hard to choose just one scene to sum up this poetic thriller, but the legendary scene on the ferris wheel may best represent its perfect blend of great writing, acting, and directing. The fadeout, too, is unforgettable.

The film is a model of barely controlled hysteria in which the absurdity of hypermasculine Cold War posturing becomes devastatingly funny--and at the same time nightmarishly frightening in its accuracy.

Manages to inject more than a little humor into this tension-filled genre classic.

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.

The film is bold stroke that hopes to push Romanian society forward by staring into the dismal failures of its recent past.

Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Korngold's score won a well-deserved Oscar, as did the editing and art direction.

A vibrant, cinematically radical, and extremely accomplished work which went on to become one of the most celebrated movies ever made.

A STREETCAR NAMED DESIRE features some of the finest ensemble acting ever offered on the screen, speaking some Williams's most vivid dialogue. Kazan's direction, however, sometimes verges on the pedestrian, as though he's struggling to recreate his Broadway staging in a much more visually demanding medium.

A stunning directorial debut from screenwriter John Huston.

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.

A masterpiece of visual story-telling.

It's a startlingly avant-garde cross-examination of modern life, as well as a lesson in the power of filmmaking and an autopsy of its methods.

Serenely stunning.

Clever, fast-moving and unobtrusively self-conscious.

Brilliantly conceived, imaginatively structured, superbly written, stylishly composed and photographed, and very often wryly funny, Killer of Sheep lives up to its official designation as a national treasure.

This may be the best romantic comedy ever made. The great Ernst Lubitsch handles his "small" theme brilliantly, bringing the lives of everyday people to the screen as he had never done before.

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.

What makes the movie's power creditable is Pontecorvo's ability to present combatants on both sides as multidimensional, nonheroic human beings, even though it's obvious where the director's own sentiments lie. (Review of original release)

Refreshing, innovative and immensely funny.

Sprawling over two and one-half hours and never flagging, it successfully introduces and exposes 24 different characters, brilliantly critiquing the country music industry as a microcosm of American society.

There have been many classic westerns but this Hawks masterpiece certainly ranks among the best of the genre.

Truly frightening because so much of it is so plausible, ROSEMARY'S BABY is one of the finest examples of modern horror, a milestone in the evolution of the genre. Although the subject matter is ultimately supernatural, the treatment is very realistic.

With such a stellar cast, a fine director working in the type of picture he did best, and some genuinely witty dialogue, this film has all the ingredients for a great comedy. And it is great, though there have been many funnier comedies. The film has an unfortunate tendency to take itself too seriously for long stretches.

Perhaps Kenji Mizoguchi's greatest achievement, SANSHO THE BAILIFF is a visually mesmerizing picture that pays great and careful attention to the smallest details of nature and environment, highlighted by Mizoguchi's use of the long take and deep-focus shots.

A clever, ingeniously animated film filled with many shining moments.