Francis Ford Coppola's first mainstream feature (after a few unremarkable skin flicks) is a little gem of gothic horror, stylishly helmed on a shoestring budget.

Another in a surprisingly good series of romantic comedies starring Doris Day from producers Ross Hunter and Martin Melcher.

Expertly directed and written with an infectious undercurrent of wry humor, this classic WWII POW escape yarn features an all-star cast of hardened Allied prisoners who the Germans have thrown together in a special escape-proof camp.

On the plus side, King Kong Vs. Godzilla had a higher budget than most films, and it shows.

8 1/2 is a grab-bag of Felliniesque delights, with stunning photography by Di Venanzo, superb performances, a haunting score from Nino Rota, and a labyrinthine structure that keeps the viewer in a pleasurable state of confusion.

The long section during which Kennedy and crew (including Ty Hardin, Robert Culp, and James Gregory) get to know each other is slow going, but the action scenes are generally worth the wait.

Harryhausen is at his most creative and brilliant (except for the disappointing bronze Titan), the film is well directed by Don Chaffey and adequately acted as these things go. Featuring gorgeous Mediterranean photography and a rousing Bernard Herrmann score, making this a great film for kids that will also please adult viewers. A must-see.

This doesn't come close to the original in wit, style, or farce, although if the former had never been made, THE MOUSE ON THE MOON could weakly stand on its own as a mild comedy.

This is not a film---it's a deal, decorated with extensive publicity, but weighed down by listless direction and lots of nasal talk, talk, talk.

The verdant, lush Hawaiian setting is visually stunning but the slapstick is forced and unbecoming.

Far too long for a lighthearted farce, with dull patches that outnumber the high spots, the film is really about Maclaine and Lemmon striving to rise above the fat Diamond-Wilder script and Wilder's lethargic direction.

Newman's performance is unquestionably the best thing about this brutal portrait of humanity.

A solid, surprisingly modest spy thriller, enlivened by Sean Connery's screen charisma and occasional hints of the extravagance to come.

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.

Edwards's direction was smooth and neither he nor Miller ever took a stance or moralized. They just showed what it was like to be an alcoholic in the 1960s and let the audience draw its own conclusions.

A hauntingly nostalgic portrayal of childhood mischief set in a racially divided Alabama town in the 1930s. If the film's tone sometimes seems overly righteous, it's offset by a poetic lyricism that is difficult to resist embracing.

It's obvious that director Milestone could not control Brando for a moment and that the famous, sometimes brilliant actor directed himself. His is one of the most impossible performances in screen history, infecting Harris, who plays a sort of seagoing Iago and is equally hammy and unbelievable.

As in the best Hitchcock movies, suspense, rather than actual mayhem, drives the film.

If anyone else but Williams had written this stage play, it might have been hailed by everyone.

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.

The Longest Day is visually stunning--its extraordinary camera movement and Cinemascope photography brilliantly augmenting the meticulously reenacted battle scenes. The only thing bigger than the film's scope are its stars.

Literally, a slice of life.

This is a really strange movie, and it contains so many outlandish, peculiar, grotesque, and incongruous moments that it becomes downright surreal.

The film is a harrowing, painfully honest, sometimes violent journey, astonishingly acted and rendered.

With both Lorre and Price having a grand time poking fun at the material and themselves. The final story has several memorable moments.

The Birdman of Alcatraz has great production values, moving if sometimes plodding, overly deliberate scripting, and efficient direction from black-and-white specialist Frankenheimer which strives mightily to overcome the essentially static nature of the storyline.

A film with uncomfortable things to say about the nature of heroism--and one to see for that reason.

Unpretentious social satire that manages to poke a few deserved jabs at modern man's ego. The laughs are a bit sparse, but the witty cast helps carry it along.