Melville coolly mixes the conventions of American crime films from the '40s and '50s ( THIS GUN FOR HIRE is one key reference point) with a distinctly European austerity, yet the film still manages to pack quite an emotional punch.

Mirren, who's played her share of queens in the past, is hypnotic.

Steven Spielberg proves decisively that a special effects-dependent film need not be cold, mechanistic, or simpleminded.

Cinematographer Willis superbly captures the turn-of-the-century period, applying a seriographic tint to flashback scenes for a softer, richer look than the sharp image of the ongoing contemporary story.

This dark stunner, based on Walter Tevis's novel, boasts Paul Newman in the role that made him an overnight superstar.

Mifune is as great here as he ever has been.

The accents are thick and the soundtrack noisy, but even as the screen explodes in chaos, Greenglass maintains a solid grip on the story.

An excellent guide to some of the highlights of post-World War II Italian cinema.

A massive, many-faceted film that continues to hold up, viewing after viewing.

Pekar's autobiographical chronicle of day-to-day banality is a rich, if dingy, tapestry of ordinary life in all its infinite, homely peculiarity, which filmmakers Sheri Springer Berman and Robert Pulcini bring to uniquely eccentric life.

With very little dialogue and a creative use of sound, Tati (the actor and director) gives us an entirely new way of looking at a very familiar landscape.

Such a glorious cast, deployed to such trivial effect!

Hailed as one of Hitchcock's masterpieces by some and despised by others, The Birds is certainly among the director's more complex and fascinating works.

The dialogue is sharp, the direction first-rate, and the acting superb, but To Have And Have Not is undoubtedly best remembered for the on- and offscreen romance between Bogart and Bacall.

The colorful and kid-friendly characters are a delight, though very young children might be alarmed by some of the larger creatures, who tend to come into view teeth first.

A loving, gently funny and slightly claustrophobic tribute to theatrical life.

The film's story line is a clever and perceptive story, superbly told.

Bizarre, utterly original and truly indescribable comedy...You just have to see it for yourself.

The result is truly a family film, not a kiddie time-waster that throws the occasional sop to adults; whether you like or love it is a function of how vividly the material reflects your own childhood fantasies.

Sharply observed, bittersweet and suffused with the kind of detail that only someone who lived through the era could summon up, Crowe's script is funny, heartfelt and very cool.

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.

One of Hawks's undisputed masterpieces, and a landmark in the screen depiction of gangsters.

In HIGH AND LOW Kurosawa succeeds in developing a highly visual structural style within the wide-screen format.

A cool indictment of television's near-irresistible pandering to the inner peeping tom.

Focusing strictly on stripped-down performances of great music and the charming chemistry between the two leads, it's a perfectly realized yet unassuming movie that deserves to find a big audience.

Allen has infused it with wit, a superb cast and his usual "the best direction is the least direction" style.

A warm and moving sleeper hit.

The one and only; an unqualified masterpiece and milestone.