A raw, penetrating, and terrifying portrait of humanity.

Solid, expert "town" Western, but lacking the fuel of passion. Still it's a landmark Western--more than any other of its era, it gave the genre major film status.

Pulp sci-fi classic.

The bleakest of Hitchcock's films, this stark, deliberate probing of a man wrongfully accused is almost wholly based on fact, creating its drama from a celebrated New York City case.

Although Baby Doll feels tame today, the cinematography and appropriately sleazy setting still have a sizzling effect, especially in a notorious porch-swing tryst between stars Carroll Baker and Eli Wallach.

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.

All of this is played for laughs, and the songs aren't half bad.

GIANT confirms Taylor's skills as an actress; she's entirely believable even when she ages by just having her hair greyed.

Much imitated, still unsurpassed. By critical consensus one of the best movies ever made, The Seven Samurai covers so much emotional, historical, and cinematic ground that that it demands to be viewed over and over again.

Everything about this big, beautiful movie smacks of authenticity, excitement, and massive showmanship.

It's fast and furious, but suffers from an overstuffed plot.

Douglas gives an appropriately fiery star turn as Van Gogh, delivering some of the best work of his career.

An erratic but compelling film that lingers long after the fade-out.

Written with all the bite of a distinctly middle-class church social, this musical re-working of The Philadelphia Story feels distant.

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.

Filmed at considerable danger to cast and crew, MOBY DICK, under Huston's strong direction, is one of the most historically authentic, visually stunning, and powerful adventures ever made.

Though there is obviously more polish and a lavish budget in this remake, the 1956 version of The Man Who Knew Too Much has no more or less impact than the first version.

A deeply emotional experience that is also a grand entertainment, The Searchers is a true American masterpiece.

While much of Godzilla, King of the Monsters is second-rate, there's no doubt that you're watching a star being born.

Nothing about it is pretty, with director Mark Robson (who'd already helmed the powerful CHAMPION) moving the story along at a frenetic pace and Burnett Guffey's stark black-and-white photography lending a grim feel to the movie. All of the performers are excellent, especially Bogart, in what would be his final screen appearance.

A superb sci-fi flick, FORBIDDEN PLANET offers an unusually intelligent script, exciting direction by Wilcox and generally good acting from a decent if rather dull cast.

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

This film lacks the cinematic boldness of Olivier's earlier screen Shakespeare; there's nothing here to match the gloomy mise-en-scene of Hamlet or the cocky theatrical conceits of Henry V. But his riveting performance transcends his conventional directing and utterly dominates the movie.

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.

A superbly crafted film by innovative director Siegel, this low-budget science fiction tale became one of the great cult classics of the genre.

Another of director Sirk's melodramatic, bitter attacks on the values of American middle-class life in the 1950s, this one stars MacMurray as a middle-aged milquetoast who lives in a claustrophobic home with his token wife, Bennett, and their three self-absorbed children.

With its touching story and stylized treatment, ALL THAT HEAVEN ALLOWS is one of Sirk's finest films.

A great play but just a good movie, Guys and Dolls fails to convey the charm that the magnificent stylized stage version brought to the unique world inhabited by Damon Runyon's characters, despite the collaboration of some very talented people.