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

A mystical and exotic story of love and destruction, a film for which both star and director became legends.

It concludes Park's trilogy on a dual note of circular tragedy and fragile hope, while working equally well as an introduction to his universe of retribution and repentance or as a stand-alone thriller with a darkly feminist twist.

Brutally memorable, The Deer Hunter is an emotionally draining production that draws a vivid portrait of its characters and their milieu--and succeeds in showing the devastating effect of the war on their lives, as well as their brave attempts at renewal. Unfortunately, the film falters when it comes to the larger questions of America's involvement in Vietnam.

A beautiful and unusually quiet film from one of the world's greatest living directors.

Burtynsky's keen sense of color, pattern and composition are obvious from his work, but equally acute are his thoughts on how he as an artist as well as an inhabitant of the planet fits into the larger scheme of things.

The performances are first-rate (finally free of the casting constraints, Hitchcock displayed--in 1972's Frenzy as well--a deliciously offbeat taste in performers) and the screenplay by Ernest Lehman (North By Northwest) is a witty model of construction. The humor is more obvious and subversive than any of Hitchcock's films since The Trouble With Harry.

Deliriously expressionistic visually and aurally.

Easily the best of the many versions of the Stevenson horror classic.

Animator/fabulist Hayao Miyazaki pays homage to Hollywood’s wartime adventure films in this masterwork built around the adventures of a high-flying pig.

Visually stunning adventure. (Review of Original Release)

Fincher gets it all right, and Donovan's hippie-dippy "Hurdy Gurdy Man," which bookends the story, has never sounded so hauntingly menacing.

n a remarkable directorial effort, Eastwood shows a great flair for atmosphere and composition and presents a nuanced, complex, humane portrait of Parker's talents, obstacles, virtues and failings. Whitaker gives a towering performance as the tortured musical genius, and Venora is equally impressive as the independent, compassionate Chan.

The voices of Reynolds, Lynde, Gibson, and all the rest are perfectly cast, and the songs by the Sherman brothers are solid, although none of them became hits like those they wrote for such Disney movies as Mary Poppins.

This was the penultimate film from the ailing great director. It is also one of his best.

This is Ingmar Bergman's chaste exploration of psychosis. It's not a horror story but a poem, and remarkable for that. This is one of the director's masterworks.

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.

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.

Ford's visualization of Steinbeck's novel is so emotionally gripping that viewers have little time to collect themselves from one powerful scene to the next.

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

WOMAN OF THE YEAR is a marvelous comedy-drama, brimming with wit, style, and sophistication.

One of the most brilliantly constructed films of all time, RASHOMON is a monument to Akira Kurosawa's greatness, combining his well-known humanism with an experimental narrative style that has become a hallmark of film history.

One of Coppola's very best.

The film ends with a return to the beach, and one of the most psychologically chilling and expertly photographed shots imaginable.

An extraordinarily well-made film about anachronistic outlaws in the early 20th century, Sam Peckinpah's The Wild Bunch feels like it should have been the final western.

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 last of the comedies produced by the Ealing Studios, and one of the finest, with a supremely dark tone which makes a climactic series of murders as hilarious as they are grotesque.

Dunn's elegant, full-length debut presents a frightening and powerful argument against the kind of reckless, profit-driven land development that not only threatens natural resources, but life itself.