This wonderful tale is told with a brisk, imaginative pace and the special effects--whereby Darby interacts with the tiny leprechauns--are marvelously executed, and sometimes frightening.

Price is wonderful as the spooky owner, but the other three players are merely adequate. But still a superlative Corman/AIP effort and a great beginning to a varying but always interesting series of horror films.

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 village is filled with nay-sayers and depressing townsfolk, but Pollyanna soon changes matters by always managing to find something good in every situation, seeing the bright side of even the blackest occurrences.

Generally free of the party line one usually associates with Soviet films of its period, THE CRANES ARE FLYING is an antiwar love story, set during WWII, which centers on the romance between pretty young Samoilova and sensitive factory worker Batalov.

It was the first time that homosexuality and cannibalism had ever been handled by a mainstream studio as a commercial venture. Let's hope that it remains the last time those two practices will be presented in tandem.

Though it occasionally goes over the top with its melodrama and lacks some technical credibility, On The Beach remains a powerful, well-acted, deftly photographed film

This remake really can't compare with the 1932 original and Lee is given no chance to flesh out his character in the haunting manner that Boris Karloff did, but for fairly standardized movie horror, this flick isn't half bad.

Predictable but magnificent and satisfying.

The film perfectly captured a specific time and place, illuminating simple truths regarding the human condition, while unveiling an important, powerful, and visionary new force in the American cinema.

The first of the witty, well-produced sex comedies featuring Day and Hudson.

The Magician is still fascinating, presenting a myriad of challenging ideas about magic, reality, and the nature of film itself. The acting, as in typical in Bergman, is exceptionally good, with Bjornstrand a standout.

NORTH BY NORTHWEST has everything--thrills, suspense, mystery, and black humor, as well as dark undertones of sexual exploitation and covert political machination.

Most of Wood's films have this strangely direct feel to them, but Plan 9 From Outer Space is definitely the tightest synthesis of the man's personal idiosyncrasies and his deep desire to tell a story that everyone would love.

A superbly restrained piece of filmmaking, with Zinnemann directing in simple, unadorned style and Hepburn giving a truly radiant performance.

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

A simple story carried into the stratosphere by the glorious music.

Possibly Ingmar Bergman's finest film and a landmark in film history.

The humor is spotty but when it works, it is hysterical. Raves go to Terry-Thomas for producing some riotous comic moments.

Rio Bravo is an excellent film featuring strong, proud, but very human characters who fight against their various handicaps and pull together to do a job and do it right.

Room at the Top memorably conveys the snobbery, poverty, desperation, and politics of class in provincial England.

SOME LIKE IT HOT expands a one-joke premise with hysterical results, due in no small part to the contributions of the near-perfect ensemble, with each of the major characters shining like a perfect jewel. Lemmon and Curtis are marvelous as the men-turned-women, creating believable characters and generally eschewing the lower forms of camp.

Wilby's father and the neighbor's dog get all the credit, but younger viewers will delight at knowing who really performed the heroics.

A vivid and carefully produced work of poignancy and loss.

If Sirk exploits the material for all it's worth and seems to be sardonically allowing the artifical genre to devour itself as he sits back and watches, at the same time the weepie aspect is so melodramatic as to tear the sobs from your throat.

The attention to movement and detail is stunning, with multiple layers of action filling the frame. The highlight of the film, the fight with the dragon, is terrifying, exciting, and brilliantly executed, though some youngsters may find it a bit too scary.

This film captures the disillusionment of returning WWII vets, and brilliantly addresses itself to many of the director's characteristic concerns--masculine fear of domestication and attendant resentment of women; the tensions of masculine friendship; women's complicity in their own oppression; the compromises demanded of artists functioning under capitalism.

This is adult, intelligent stuff, marvelously shaded by the amalgamation of talents.