|
8%
|
Supergirl (1984)
|
"Beyond nostalgia and the '80s kitsch factor, Supergirl isn't worth a whole lot of salt."
|
A. J. Hakari
|
|
——
|
Zachariah (2003)
|
"Zachariah waxes experimental rather than commercial and makes its relatively laid-back philosophy that easier to digest."
|
A. J. Hakari
|
|
30%
|
Frankenstein Meets the Wolf Man (1943)
|
"Frankenstein Meets the Wolf Man is quite the class act for a B-flick, a corny but overall fun way of expanding the wide, weird world of Universal horror. "
|
A. J. Hakari
|
|
71%
|
Under Capricorn (1949)
|
"Several moods are adopted as the drama unfolds, keeping its many mysteries in flux."
|
A. J. Hakari
|
|
80%
|
Green for Danger (1946) (1946)
|
"British potboilers are famous for their wit and complexity, and Green for Danger does its papas proud."
|
A. J. Hakari
|
|
73%
|
For Your Eyes Only (1981)
|
"For Your Eyes Only is the refreshing detox the Bond series had been asking for."
|
A. J. Hakari
|
|
77%
|
The Uninvited (1944)
|
"The Uninvited's craftsmanship surpasses its storytelling strengths."
|
A. J. Hakari
|
|
75%
|
Vanishing Point (1971)
|
"Vanishing Point has its pleasant pursuits, but its mindset is better suited for the more introspective of motorheads."
|
A. J. Hakari
|
|
75%
|
Werewolf of London (1935)
|
"For Universal's first big lycanthropic romp, Werewolf of London is in impressive shape."
|
A. J. Hakari
|
|
94%
|
The Wolf Man (1941)
|
"Monsters of moonlight have come and gone, but 1941's The Wolf Man remains leader of the pack."
|
A. J. Hakari
|
|
100%
|
The Treasure of the Sierra Madre (1948)
|
"Countless TV airings and 'stinking badges' references later, The Treasure of the Sierra Madre remains a parable that's as fascinating to ponder as it is to just watch."
|
A. J. Hakari
|
|
95%
|
The Private Life of Sherlock Holmes (1970)
|
"Stephens nails the detective's restless disposition, but more than once does he veer dangerously close to drama queen territory."
|
A. J. Hakari
|
|
82%
|
Murders in the Rue Morgue (1992)
|
"The whole thing is a Darwinian nightmare, an ill-conceived attempt to parlay a taboo topic into a simple horror story."
|
A. J. Hakari
|
|
97%
|
Cabaret (1972)
|
"A little bit naughty and a little bit fun, Cabaret is off-kilter goodness no matter how you slice it."
|
A. J. Hakari
|
|
88%
|
Christmas in Connecticut (1945)
|
"It's a perfectly pleasant film with a nostalgic appeal that makes it one of the lesser-known holiday favorites but a favorite nonetheless."
|
A. J. Hakari
|
|
91%
|
Dracula (1931)
|
"Dracula is good stuff, but it's sort of a victim of its own reputation."
|
A. J. Hakari
|
|
——
|
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
|
|
89%
|
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
|
|
94%
|
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
|
|
81%
|
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
|
|
61%
|
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
|
|
89%
|
White Zombie (1932)
|
"White Zombie suffers most from a nasty habit of prolonging scenes where, instead of generating suspense, things just kind of remain inert."
|
A. J. Hakari
|
|
67%
|
Pulp (1972)
|
"...the film wanders around aimlessly for about an hour before it comes close to piecing together something that could resemble a plot."
|
A. J. Hakari
|
|
85%
|
Blast of Silence (1961)
|
"Lonely is the life of an assassin."
|
A. J. Hakari
|
|
88%
|
Where Eagles Dare (1969)
|
"The story isn't based on run-and-gun theatrics but stealthness, white-knuckle intensity..."
|
A. J. Hakari
|
|
——
|
Trio (1950)
|
"...Trio is only two-thirds of the classic it could've been."
|
A. J. Hakari
|
|
95%
|
Touch of Evil (1958)
|
"Touch of Evil is more than deserving of its status as a noir classic..."
|
A. J. Hakari
|
|
57%
|
Tomorrow Never Dies (1997)
|
"The film's job is pretty simple: come in, throw out a couple of winks at long-time Bond fans, and blow up a lot of stuff in the process. But it works."
|
A. J. Hakari
|
|
85%
|
Thunderball (1965)
|
"...it lazily slogs through its set pieces without the slightest hint of spirit or spark."
|
A. J. Hakari
|
|
93%
|
This Gun for Hire (1942)
|
"There's quite a bit of ambition running through This Gun for Hire's veins, and it's a much more memorable movie for its efforts."
|
A. J. Hakari
|
|
92%
|
The Sting (1973)
|
"Even eight years after I first discovered it, the movie remains an absolute joy to watch..."
|
A. J. Hakari
|
|
93%
|
Superman (1978)
|
"The most vital aspect of Superman is that Superman himself isn't depicted as a flawless do-gooder."
|
A. J. Hakari
|
|
80%
|
State Fair (1945)
|
"I'll always have a certain amount of affection for State Fair."
|
A. J. Hakari
|
|
——
|
She-Wolf of London (The Curse of the Allenbys) (1946)
|
"...it's either a unique entry in the studio's horror pantheon or one of the biggest rip-offs of all time."
|
A. J. Hakari
|
|
100%
|
Scarface (1932)
|
"Scarface is the quintessential example of the American Dream being turned on its ear."
|
A. J. Hakari
|
|
89%
|
The Quiet Man (1952)
|
"The script has a tendency to oversimplify certain elements of the story..."
|
A. J. Hakari
|
|
72%
|
Phantom of the Opera (1943)
|
"As a horror film, Phantom doesn't amount to anything spectacular."
|
A. J. Hakari
|
|
92%
|
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
|
|
62%
|
Moonraker (1979)
|
"For as chintzy a demeanor as the Roger Moore movies adopted, this one really takes the cake."
|
A. J. Hakari
|
|
46%
|
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
|
|
75%
|
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
|
|
74%
|
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
|
|
41%
|
The Last Tycoon (1976)
|
"...in the end, it has about as much to do with the movies as Psycho had to do with shower curtains."
|
A. J. Hakari
|
|
73%
|
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
|
|
46%
|
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
|
|
90%
|
The Karate Kid (1984)
|
"The Karate Kid works mostly due to the worthy emotional investment put into the characters..."
|
A. J. Hakari
|
|
100%
|
The Hound of the Baskervilles (1939)
|
"Rathbone's portrayal of Holmes is second to none..."
|
A. J. Hakari
|
|
93%
|
Hannah and Her Sisters (1986)
|
"Hannah is about as pitch-perfect as movies can get."
|
A. J. Hakari
|
|
96%
|
Goldfinger (1964)
|
"It's not difficult to see why moviegoers went ga-ga for Goldfinger."
|
A. J. Hakari
|
|
82%
|
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
|
73%
21%
63%
85%
46%
40%
