Tomato 3/5 |
The 27th Day (1957) |
"It's not often that one gets a little extra thought with his or her sci-fi B-movie, and it's even less often that such low-key profundity is executed rather well in a film of this kind." |
A. J. Hakari |
Tomato 3.5/5 |
3:10 to Yuma (1957) |
"Although it didn't receive any major awards, 3:10 To Yuma is considered one of the best westerns of the 1950s." |
Diana Saenger |
Splat 2.5/5 |
The Adventures of Sherlock Holmes' Smarter Brother (1975) |
"The story, often the least important aspect of a comedy, is at once paid both too little and too much attention." |
A. J. Hakari |
Tomato 4/5 |
An Affair to Remember (1957) |
"Not only does this 50th Anniversary Edition look terrific, Fox has outdone itself with the great bonus features about Cary Grant, Deborah Kerr and Leo McCarey." |
Diana Saenger |
Tomato 4/5 |
All the King's Men (1949) |
"A character piece, unveiled through excellent performances that divulge how an ounce of power can unravel one's entire life, make enemies out of friends and friends out of enemies." |
Diana Saenger |
Tomato 3/5 |
And Then There Were None (1945) |
"The premise doesn't work as brilliantly as it could, but it does just the trick in providing a little over an hour and a half's worth of good, sound, and engaging thrills." |
A. J. Hakari |
Tomato 3/5 |
Arsenic and Old Lace (1944) |
"With sheer comedic insanity and glazed over with a coat of diabolical darkness, Arsenic and Old Lace is nothing short of ahead of its time." |
A. J. Hakari |
Tomato 4/5 |
The Baron of Arizona (1950) |
"If there's one genre that I'll never tire of, it's con artist movies. Thus, it was only natural that I fell head over heels for this lost classic from the great Sam Fuller." |
A. J. Hakari |
Tomato 4/5 |
The Big Trail (1930) |
"John Wayne carried off the lead role without a hitch. It seemed as if he had carried dozens of lead roles before instead of this being his first." |
Diana Saenger |
Tomato 3/5 |
Black Friday (1940) |
"...a flick that's a little on the inconsistent side but always intriguing and faithful to Universal's dark and atmospheric spirit." |
A. J. Hakari |
Tomato 3/5 |
Blast Of Silence (1961) |
"Lonely is the life of an assassin." |
A. J. Hakari |
Tomato 3/5 |
Boomerang! (1947) |
"Film aficionados may find Boomerang's curious journey enough of a reason to seek it out." |
A. J. Hakari |
Splat 2.5/5 |
Bunny Lake is Missing (1965) |
"...there's little suspense to speak of, since astute viewers will have long since figured things out." |
A. J. Hakari |
Splat 2.5/5 |
The Burning (1981) |
"Looking back, The Burning is wholly unremarkable considering the leagues of Halloween and Friday the 13th clones released over the years." |
A. J. Hakari |
Tomato 3/5 |
Captive Wild Woman (1943) |
"It's a silly-sounding premise that somehow pulls itself together into a more swift-moving and thematically-intriguing package than it easily could've turned out to be." |
A. J. Hakari |
Tomato 5/5 |
Casablanca (1942) |
"Since it screened at the theater in 1943, the story of lovers Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman) in Casablanca has made cinematic history." |
Diana Saenger |
Tomato 3/5 |
The Cat and the Canary (1927) |
"The Cat and the Canary is as much a comedy as it is a thriller, blurring the line separating the two and doing a rather adept job of it." |
A. J. Hakari |
Tomato 3.5/5 |
Cat People (1942) |
"Cat People is a film that really takes the 'less is more' policy to heart." |
A. J. Hakari |
Tomato 4/5 |
Chuck Berry - Hail! Hail! Rock 'N' Roll (1987) |
"...an immensely entertaining portrait of a man who helped shape rock 'n' roll, whether he liked it or not." |
A. J. Hakari |
Splat 2/5 |
D.O.A. (1949) |
"...while it's memorable for its story alone, what's done with it is nothing less than a ho-hum mixture of the mundane and the gimmicky." |
A. J. Hakari |
Tomato 5/5 |
Day the Earth Stood Still (1951) |
"The Day the Earth Stood Still fascinates the mind as much as it does the eyes." |
A. J. Hakari |
Tomato 3/5 |
Die Another Day (2002) |
"Die Another Day is more of an homage to everything the series had done to that point, rather than simply the next chapter." |
A. J. Hakari |
Splat 2.5/5 |
Dr. No (1963) |
"...it's all being handled with the urgency of someone trying to find the TV remote." |
A. J. Hakari |
Tomato 3/5 |
Dracula (1931) |
"Dracula is good stuff, but it's sort of a victim of its own reputation." |
A. J. Hakari |
Tomato 3/5 |
The Escape Artist (1982) |
"...a unique coming-of-age tale, one that may star a youngster but isn't necessarily a kids-only affair." |
A. J. Hakari |
Splat 2.5/5 |
Fiend Without a Face (1958) |
"...the turn of events in the story is so familiar by now, the movie tends to run into some slow patches." |
A. J. Hakari |
Splat 2.5/5 |
The Fly (1958) |
"Someone's either crying or reciting a monologue, which can be a lot to endure if anthropmorphic bugs are your game." |
A. J. Hakari |
Tomato 3/5 |
From Beyond (1986) |
"The practical technique gives the effects a creepy boost..." |
A. J. Hakari |
Tomato 4/5 |
From Russia with Love (1963) |
"From Russia with Love's appearance shows that filmmakers had a lot more confidence about how to handle Bond." |
A. J. Hakari |
Tomato 3.5/5 |
Funeral in Berlin (1966) |
"...there's just a hint of irreverency flowing throughout, providing just the right amount of winks and nudges beyond the usual espionage action." |
A. J. Hakari |
Tomato 5/5 |
The Ghost and Mrs. Muir (1947) |
"The Ghost and Mrs. Muir is a wise and wry piece of work that deservedly ranks among the screen's most fulfilling love stories." |
A. J. Hakari |
Tomato 3/5 |
Goldeneye (1995) |
"The action is crisp, the pacing is quick, and, most importantly, Brosnan proves he can wear a tux just as well as Sean Connery could." |
A. J. Hakari |
Tomato 3.5/5 |
Goldfinger (1964) |
"It's not difficult to see why moviegoers went ga-ga for Goldfinger." |
A. J. Hakari |
Tomato 4/5 |
The Graduate (1967) |
"The Graduate 40th Anniversary Editon reminds us of Dustin Hoffman's great talent." |
Diana Saenger |
Tomato 4.5/5 |
Hannah and Her Sisters (1986) |
"Hannah is about as pitch-perfect as movies can get." |
A. J. Hakari |
Tomato 3/5 |
The Hound of the Baskervilles (1939) |
"Rathbone's portrayal of Holmes is second to none..." |
A. J. Hakari |
Splat 2/4 |
Journey to the Center of the Earth (1959) |
"As classy as the '59 Journey is, it's way too buttoned-up and stodgy to truly have fun with." |
A. J. Hakari |
Splat 2/4 |
Journey to the Center of the Earth (2008) |
"The action is tiresome, the 3-D is a big bother, and the characters are slim..." |
A. J. Hakari |
Tomato 3.5/5 |
The Karate Kid (1984) |
"The Karate Kid works mostly due to the worthy emotional investment put into the characters..." |
A. J. Hakari |
Splat 2.5/5 |
King Kong (1976) |
"...the '70s take on Kong is still a fairly enjoyable flick, even if it's on a much cheesier level than some might care for." |
A. J. Hakari |
Tomato 3.5/5 |
The Last Man on Earth (1964) |
"...another low-budget endeavor from the infamous American International line that just so happens to be pretty darn good." |
A. J. Hakari |
Splat 2/5 |
The Last Tycoon (1977) |
"...in the end, it has about as much to do with the movies as Psycho had to do with shower curtains." |
A. J. Hakari |
Tomato 3.5/5 |
Licence to Kill (1989) |
"Few people dug Timothy Dalton's turn at the James Bond wheel, but you can't deny that the man brought a certain edginess to the character." |
A. J. Hakari |
Tomato 3/5 |
Little Caesar (1930) |
"With little gunplay to hog screen time, Little Caesar devotes more of itself to the tragedy of Rico's criminal ways." |
A. J. Hakari |
Splat 2/5 |
Live and Let Die (1973) |
"...it's best to live and not watch." |
A. J. Hakari |
Splat 2.5/5 |
The Living Daylights (1987) |
"...what The Living Daylights does is steal away Bond's thunder by slapping him in a story more fit for Schwarzenegger or Stallone..." |
A. J. Hakari |
Tomato 3.5/5 |
The Man with the Golden Gun (1974) |
"Aside from a few minor hang-ups, the movie finds a way to entertain on an escapist level." |
A. J. Hakari |
Splat 2/5 |
Moonraker (1979) |
"For as chintzy a demeanor as the Roger Moore movies adopted, this one really takes the cake." |
A. J. Hakari |
Tomato 4/5 |
Morning Glory (1933) |
"Morning Glory is a great story with Hollywood glamour and exceptional performances." |
Diana Saenger |
Tomato 4/5 |
The Mummy (1932) |
"The tragic romance is tinged with enough of the supernatural to make the story much deeper than the average fright film." |
A. J. Hakari |
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