Deliberately theatrical but nevertheless greatly indebted to French poetic realism, Children of Paradise is lovingly handled by director Carne. The entire film is crammed with incident and an intoxicating eye for detail.

Mean Streets is a brilliantly made film--terrifically acted, sharply photographed and crisply edited.

Chic, sly little masterpiece of comic seduction.

Mel Brooks's first and funniest, a spoof of Broadway theater that has earned a deservedly devoted cult following.

The most ambitious animated feature ever to come out of the Disney studios, Fantasia integrates famous works of classical music with wildly uneven but extraordinarily imaginative visuals that run the gamut from dancing hippos to the purely abstract. It's like a feature-length compilation of elaborate Silly Symphonies

Beauty And The Beast is a nostalgic feast, drawing shamelessly on the best traditions of screen animation and American musical theater and film. Thoroughly derivative but thoroughly charming.

One of the seminal achievements of Hollywood cinema, this brilliant sequel to the original Frankenstein is one of the greatest films of its genre and remains a lasting tribute to the unique genius of director Whale.

A film which more than gets by on its directorial style, unforgettable imagery, and striking music alone, DON'T LOOK NOW also manages to be a haunting meditation on fear, death and the beyond.

My Fair Lady, for all its kudos, often seems bloodless and never achieves the heights of the production that ran on the Mark Hellinger Theater stage eight times each week from 1956 through 1962.

If the 1960s political thrust of the movie is somewhat blunted by the passage of time, the historical, even archival, import of Wadleigh's accomplishment is all the more striking. This is a documentary in the purest sense of that word, in that it "documents" a social and cultural benchmark, the coming together of more than 400,000 young people in the meadows of a dairy farm in upstate New York for what was billed as "three days of peace and music"--but turned out to be much more. [Director's Cut]

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

Without its commitment to an idea of salvation, Pulp Fiction would be little more than a terrific parlor trick; with it, it's something far richer and more haunting.

Both a starkly realistic and a carefully stylized masterpiece of murder.

An undisputed masterpiece, and that rarest of films that achieves absolute perfection in every area.

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)

Director Steven Spielberg has achieved something close to the impossible--a morally serious, aesthetically stunning historical epic that is nonetheless readily accessible to a mass audience.

It can hardly be called a children's film, but a masterpiece of feature-film animation for all ages.

The movie is certainly above average, thanks to the performances by Stewart and Wayne, but Marvin is so flamboyant a badman that he is simply a caricature, even more so than in his outlandish Oscar-winning turn in Cat Ballou.

A deeply emotional experience that is also a grand entertainment, The Searchers is a true American masterpiece.

An undeniably brilliant, nightmarish portrait of one man's personal hell.

Builds so gradually you probably won't realize it's a near-masterpiece until it's over, but there are hints along the way.

But it is Angela Lansbury's incestuous, power-mad mother who makes your blood run cold. This was the peak of the first part of her career, which depended upon these hardbitten kind of characters. Forget Hitchcock--here's the monster mother of all time.

It's not a brisk 201 minutes but it is engrossing and rewarding, a painstakingly realistic account (oozing verisimiltude out of every frame, and there are a lot of frames) of three days in the life of the female protagonist of the title, portrayed by Delphine Seyrig.

Based on Akiyuki Nosaka's semi-autobiographical novel, Takahata's alternately sweeping and intimate animated feature is a moving depiction of the fates of cast-off children who become casualties of war.

The film satisfies on both visceral and emotional levels.

Probably the director's most ambitious film, The Wild Child spins a modern myth with resonances for parents and children, teachers and students, and even filmmakers, actors and audiences.

By common consensus, Stop Making Sense is the best concert film ever made.

The sly Hitchcock made this chiller all the more frightening by having his crafty homicidal maniac intrude into the tranquility of a warm, middle-class family living in a small town, deeply developing his characters and drawing from the soft-spoken Joseph Cotten one of the actor's most remarkable and fascinating performances.