|
84%
|
Contagion (2011)
|
"A methodical exploration of the threat of pandemics and how we share space with our fellow human beings. If you aren't chilled by the potential, you should be."
|
Wesley Lovell
|
|
35%
|
Transformers: Dark of the Moon (2011)
|
"Better than the second film in the franchise, this film is still as hollow and unimportant as its predecessor."
|
Wesley Lovell
|
|
39%
|
Cars 2 (2011)
|
"Pixar's first bad film relies more on merchandising opportunities than storytelling ones."
|
Wesley Lovell
|
|
88%
|
Twelve Monkeys (12 Monkeys) (1995)
|
"Terry Gilliam has seldom been more inventive or more compelling."
|
Wesley Lovell
|
|
95%
|
Invasion of the Body Snatchers (1978)
|
"This terrific remake never lets the audience forget that it should be frightened."
|
Wesley Lovell
|
|
70%
|
TRON (1982)
|
"More important for its revolutionary visual effects than anything else, the film is both entertaining and prescient."
|
Wesley Lovell
|
|
93%
|
Dr. Jekyll and Mr. Hyde (1931)
|
"There has never been a more inventive nor engaging retelling of this classic story."
|
Wesley Lovell
|
|
93%
|
Jezebel (1938)
|
"A tottering costume drama that gave Bette Davis one of her rare non-bitchy roles. It should come as little surprise that it doesn't quite work."
|
Wesley Lovell
|
|
100%
|
Holiday (1938)
|
"Character dramas are often at their best when exploring inside worlds and not running free outside."
|
Wesley Lovell
|
|
100%
|
The Adventures of Robin Hood (1938)
|
"Nearly every aspect of the Robin Hood myth we know today is embodied in this exciting, socially aware adventure."
|
Wesley Lovell
|
|
100%
|
Stagecoach (1939)
|
"One of the best early westerns ever made."
|
Wesley Lovell
|
|
100%
|
The Shop Around the Corner (1940)
|
"Entertaining to a fault, the film doesn't ignite the imagination in the way many other films of the period did."
|
Wesley Lovell
|
|
100%
|
The Grapes of Wrath (1940)
|
"Back when they adapted serious literature for the big screen, the results were equally impressive."
|
Wesley Lovell
|
|
93%
|
Foreign Correspondent (1940)
|
"A showcase of early Hitchcock suspense."
|
Wesley Lovell
|
|
88%
|
Meet John Doe (1941)
|
"Journalistic ethics are only a small aspect of the film, but the implications are long-ranging."
|
Wesley Lovell
|
|
——
|
The Great Lie (1941)
|
"Predictable to a fault, even Bette Davis can't save this film."
|
Wesley Lovell
|
|
65%
|
Dr. Jekyll and Mr. Hyde (1941)
|
"If you mess with perfection, you end up with the beast."
|
Wesley Lovell
|
|
100%
|
National Velvet (1944)
|
"Watching a young Elizabeth Taylor work is like watching a seed grow into a blossoming flower."
|
Wesley Lovell
|
|
100%
|
Laura (2005)
|
"This interesting film noir has more working for its final half than in its first."
|
Wesley Lovell
|
|
96%
|
Out of the Past (1947)
|
"Few films noir were better than this."
|
Wesley Lovell
|
|
96%
|
Monsieur Verdoux (1947)
|
"It's not often you find Charlie Chaplin in the rare role of a villain, but he does nice work in this small tale of lies and murder."
|
Wesley Lovell
|
|
96%
|
Key Largo (1948)
|
"Trapped in a country estate by an impending storm, a mobster attempts to lay low before escaping from the police, but takes a risky gambit holding Humphrey Bogart and Lauren Bacall hostage."
|
Wesley Lovell
|
|
94%
|
She Wore a Yellow Ribbon (1949)
|
"A film more notable for its gorgeous cinematography than for its plot."
|
Wesley Lovell
|
|
83%
|
Harvey (1951)
|
"A modest family film that lays on the sweetness a bit to heavily."
|
Wesley Lovell
|
|
92%
|
The Quiet Man (1952)
|
"John Ford may be the first director to make me like John Wayne."
|
Wesley Lovell
|
|
93%
|
The Bad and the Beautiful (1953)
|
"Three disjointed stories awkwardly connected by a frayed thread."
|
Wesley Lovell
|
|
97%
|
Stalag 17 (1953)
|
"When escape is the only option, you do whatever you can to make it happen. This is one exciting escape drama."
|
Wesley Lovell
|
|
100%
|
The Band Wagon (1953)
|
"A fun musical with creative choreography, but far too little substance."
|
Wesley Lovell
|
|
98%
|
The Night of the Hunter (1955)
|
"An astounding thriller with a chilling performance by Robert Mitchum."
|
Wesley Lovell
|
|
98%
|
The Searchers (1956)
|
"One of the better examples of the western genre."
|
Wesley Lovell
|
|
97%
|
The Killing (1956)
|
"A tight heist thriller from master director Stanley Kubrick."
|
Wesley Lovell
|
|
98%
|
Sweet Smell of Success (1957)
|
"A meandering drama about the lure of success and the ignominious aggression of defeat."
|
Wesley Lovell
|
|
93%
|
Paths of Glory (1957)
|
"Stanley Kubrick often spoke out against war in his film, using violence as a weapon against the audience's sensibilities. Never was he more convincing as here."
|
Wesley Lovell
|
|
95%
|
Touch of Evil (1958)
|
"Orson Welles' masterwork of greed, treachery and revenge."
|
Wesley Lovell
|
|
77%
|
Separate Tables (1958)
|
"How do you assemble a wonderful ensemble and then waste their talents? Here's an example."
|
Wesley Lovell
|
|
75%
|
The Diary of Anne Frank (1959)
|
"A poignant drama bringing us into the lives of Anne Frank, whose diary inspired millions seeking to understand why such a sweet, innocent child could be murdered in the Holocaust."
|
Wesley Lovell
|
|
96%
|
Elmer Gantry (1960)
|
"If not for the amazing performance of Burt Lancaster, the film would collapse under its own self-righteousness."
|
Wesley Lovell
|
|
98%
|
La Dolce Vita (1960)
|
"A lovely Italian palette that questions if we can settle down to a life of struggle without having first lived life at its best."
|
Wesley Lovell
|
|
100%
|
The Miracle Worker (1962)
|
"Two well-deserved Oscars grace this unflinching portrait of selfishness in direct resistance to selflessness."
|
Wesley Lovell
|
|
93%
|
Long Day's Journey Into Night (1962)
|
"An adaptation of Eugene O'Neill's legendary play results in a stage-bound production lifted by grand performances, including the delightful Katharine Hepburn."
|
Wesley Lovell
|
|
82%
|
Advise and Consent (1962)
|
"You can't hire a judge without breaking a few nerves. This insightful political film is terrific."
|
Wesley Lovell
|
|
——
|
The V.I.P.s (International Hotel) (1963)
|
"Trying to shoehorn a talent ensemble into a trite premise results in unmitigated failure."
|
Wesley Lovell
|
|
86%
|
Zorba the Greek (2004)
|
"A pensive film about the need to find your own truth while living life to its fullest."
|
Wesley Lovell
|
|
——
|
The Best Man (1964)
|
"It's hard to be educational while being poignant, but this film does both easily."
|
Wesley Lovell
|
|
100%
|
A Patch of Blue (2000)
|
"A wonderful twist on the adage that love is blind."
|
Wesley Lovell
|
|
97%
|
The Good, the Bad and the Ugly (Il Buono, il Brutto, il Cattivo.) (1966)
|
"The defining spaghetti western pits a charismatic Clint Eastwood against partner and nemesis Eli Wallach and perpetual enemy Lee Van Cleef."
|
Wesley Lovell
|
|
98%
|
Rosemary's Baby (1968)
|
"A spellbinding horror film from Roman Polanski."
|
Wesley Lovell
|
|
95%
|
The Lion in Winter (1968)
|
"Peter O'TOole and Katharine Hepburn are superb as the bickering, yet loving Henry II and his meddling wife Eleanor of Aquitaine."
|
Wesley Lovell
|
|
83%
|
They Shoot Horses, Don't They? (1969)
|
"There has never been a film quite so original as this, featuring a wealth of noted actors fighting for their lives in a dance competition taking place during the Great Depression."
|
Wesley Lovell
|
|
——
|
Oh! What a Lovely War (1969)
|
"An anti-war musical whose originality has never been successfully repeated."
|
Wesley Lovell
|
