Refreshing, innovative and immensely funny.

Bring Me The Head Of Alfredo Garcia does have some sloppy photography, a few unintentionally humorous scenes, and an excess of Peckinpah's signature slow-motion violence, but it stands as one of Peckinpah's more daring films.

One of the most perceptive movies about the gentrification of Los Angeles.

This is no film for the squeamish.

Powerful, haunting, and at times very moving, The Last Temptation of Christ presents its account of the events and conflicts of Christ's life with a depth of dramatized feeling and motivation that renders them freshly compelling.

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

Hurt gives a tour de force performance, masterfully conveying emotions while unable to use his face or even much of his voice.

In the end, Haar's powerful and terribly sad film speaks volumes, not just about life in contemporary Israel, but in the U.S. as well.

In direct contrast to the flag-waving, jingoistic propaganda films typical of Hollywood during WWII, John Ford's They Were Expendable is a somber and moving account of America's defeat in the Philippines early in the war.

Of the long list of couples who have loved neither wisely nor particularly well, few have such power to disturb as Burton Pugach and the love of his life, Linda Riss.

Deceptively simple, Pieces is one of the most complex pictures of the 1970s.

German filmmaker Malte Ludin's gripping documentary about the father he barely knew is both an extraordinary exercise in family history and an example of what Germans call Vergangenheitsbewaeltigung: "facing the past," particularly the years of Hitler's Third Reich.

This touching and beautifully photographed, if slightly overlong, tale of a boy and his horse follows the escapades of young Alec Ramsey (Reno), who is traveling across the ocean with his father.

Strangers on a Train ranks at the top of Hitchcock's most accomplished works, a masterpiece that is so carefully constructed and its characters so well developed that the viewer is quickly intimate and comfortable with the story long before Bruno turns killer.

Bahrani's willingness to expose the shameful reality of third-world conditions in the Land of Plenty while telling a crackling good story marks him as a filmmaker as important as he is accessible.

A marvelous, deceptively simple accomplishment shot on grainy 16mm film and featuring a cast of mostly nonprofessional actors delivering loosely written dialogue.

A draining experience from beginning to end, relentless in its portrayal of inhumanity.

This is animation as it had never before been experienced. Disney wisely realized the film could only work if it was full of believable characters, and each personality is distinct, from the purity of Snow White to the absolute evil of the queen. This film classic also features some unforgettable songs, including "Whistle While You Work," "Heigh Ho" and "Some Day My Prince Will Come.

But the real marvel is that beneath the ghoulish in-jokes and horror-geek allusions, there's a core of the same bittersweet truth that makes the best fairy tales resonate from one generation to the next.

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.

This honest, non-sugar-coated approach to the hard truths of life, however, is what gives Bambi its lasting emotional power, and makes it stand apart, not only from Disney's cartoons, but from virtually all others as well.

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.

Fox is superb as the coldly impassionate killer, and Lonsdale is properly plodding yet magnificently analytical as the detective tracking him down. A taut, suspenseful, and fascinating political thriller.

The film is immensely entertaining and occasionally inspiring, a delirious combination of Slavic solemnity, Latin exoticism, Communist idealism and breathtakingly beautiful images.

Hitchcock's first British film in almost two decades marked a smashing return to his earlier form .

Amadeus is a must for any music lover, any film lover, or anyone who reveres excellence.

Even without the music, this well-written story would be a splendid entertainment. But it's the music, that wonderful score written by Rodgers and Hammerstein, that makes this movie as beloved as it is.

Very likely the greatest musical MGM or anyone else ever produced, SINGIN' IN THE RAIN has everything--great songs, great dances, a wonderful, nostalgic story, and a dependable cast, although we're beginning to find Kelly and O'Connor a trifle overanimated in scenes they needn't be (butthen whenever we see the talented yet obsequious Mr. Kelly play modest, we get a strange olfactory sensation--that of ham baking)