Solidly-made, if underwhelming World War II thriller. Despite Robert Aldrich's sure-handed direction, Robert Mitchum's star presence, and some well-done writing and performances, it just all has a kind of studio programmer feel. Not a bad film, but not memorable enough to be any kind of classic.

Seemed to start off with every intention of faithfully bringing Howard's pulp creation to the screen, but it's all undone by an underworked script that's just a lazy mish-mash of fantasy cliches. Despite a decent-sized budget, it has a strangely limp, made-for-TV feel, lacking any kind of epic scope or imagination. On the other hand, Rose McGowan is actually a lot of fun as some kind of sorceress-thing. Forgettable.

Starts off as a clever, quirky British satire with an able cast of colorful characters. Then there's one scene that sends the whole thing spiraling off onto a another glorious level of strangeness. Turns out this cult oddity is the last of a trilogy which I will now need to seek out, though I can't imagine they end up going as weird as this one.

It's strengths are impressive: sharp visuals and tense atmosphere expertly-crafted by Alfredson; no one disappears into a role like Oldman, and he's backed by some of Britain's top actors of the time, all at their best. But while each scene is so well done, it just doesn't really come together as a whole, never quite generating enough momentum or suspense. An incredibly handsome production, but a mild disappointment.

Though it lacks the ironic wit and filmmaking finesse of Jacopetti and Prosperi's best work, it gets points for the audaciousness of its pseudo-documenting of the perversion and inhumanity of the American people (though most of the film was clearly shot in Rome). The rabid anti-Americanism may have been offensive to someone at some point, but now just makes it look quaint and campy. Great score by Bruno Nicolai.

This had every potential to be awesome, but it all goes painfully wrong in the execution. Surprisingly, it's not the cringe-inducing goofy mess the trailers seemed to promise, but it's most glaring flaw might be something even worse: it's boring. Dull, talky, and plodding, the script is woefully lazy and underworked; even Burton's distinct visual style looks tired and routine. A major disappointment.

Another entertaining, well-made giallo thriller from director Umberto Lenzi. Built on a solid central mystery with great style and above-average performances, all set to a grooving Riz Ortolani score. Though the identity of the killer isn't too hard to figure out if you're familiar with the trends of the genre. Great fun for giallo fans.

Barley delivers on what you'd expect from a Mexican 'Jaws' rip-off. It's as bad as you'd think, but spends most of its time on a bland 70s sex drama then sprinkles some unremarkable shark stock footage throughout. Dull and forgettable.

A major departure from Cronenberg's early body-horror work. The script is pretty hackneyed and the music is dated to the point of camp; but it is well-shot by Cronenberg and the acting is better than you usually see in this kind of B-movie. Entertaining enough for what it is, but certainly one of Cronenberg's lesser efforts.

Another ambitious feature does a good job of blending an insightful, character-driven relationship drama with some more fantastical elements - though the talking cat did get cloying at times. July and Hamish Linklater are strong in the leads, and there are a number of fine moments of playful surrealism. Not for everyone, but indie fans with a taste for the absurd should enjoy it. Great score by Jon Brion.

Not really a fan of superhero movies, but this one is actually better than most, probably due in large part to its period setting and action scenes that play more like classic Spielberg than hyper-kinetic incoherence. The script is clunky as hell and not without a few eye-roll inducing cliches, but the cast is good and the energy is high. Not a great film, but one of the better of its kind.

Supposedly this is one of the best of these kinds of movies, but that's not saying much, as it's pretty desperate camp with almost every gag falling painfully flat. Most of the time it's just shrill and annoying more than anything, even some Don Rickles one-liners couldn't keep it afloat. Checked it out as a curiosity, but I can't say I'm glad I did.

A solid biographical documentary with worthy commentators providing compelling insight into both Lovecraft's life and writing, while not shying away from the shortcomings of either. There are a lot of really cheesy Lovecraft documentaries out there, but fans should really seek this one out.

Many regard it as a masterpiece, but it just did nothing for me. Tedious and plodding most of the time, punctuated by some annoying, pretentious pontificating, it's sort of a chore to sit through. It does achieve an interesting atmosphere at times, but that's about it. Whatever other people are seeing in this was lost on me.

Generally considered to be Mario Bava's worst film, and it's pretty hard to argue otherwise. This American version, at least, is a bungled mess of cartoonish slapstick, completely incoherent plot twists, and cringe-inducing camp - though it does have a decent jazz score by Les Baxter. For true Bava completists only, everyone else should avoid it.

Interesting but uneven attempt at a serious take on Arthurian legend. A truly epic and ambitious production, with some strong moments of atmosphere and arresting visuals. But the plot is disjointed, making the characters hard to connect with. Has its flaws, but the visual spectacle makes it something memorable.

It does have a certain can-do attitude about it, considering it's obviously dismal budget; and some of the plot elements are ahead of its time. But I've never really understood why some consider this something special, other than some particularly scrappy B-movie cheese.

A sharply-crafted crime thriller from director Elia Kazan highlighted by intense performances by a top-notch cast, particularly Richard Widmark and a young Jack Palance at their best. A classic, but not quite on the level of some of Kazan's other masterpieces.

Technically well-made, with impressively lavish production values. Burt Lancaster is charismatic, and Eva Bartok beautiful. But it's breezy, tongue-in-cheek tone is far often more annoying than entertaining. Not a terrible film, but I just couldn't get into it.

It gets off to a creaky start, but once the elements click into place it's a pretty fun goofy comedy with a great cast in top form. Nothing really all that special, but enjoyable entertainment.

Pretty ridiculous but also pretty entertaining 70s B-horror. Peter Sasdy's sharp direction keeps things moving through the baby murders, dancing dwarfs, and Joan Collins crack-ups. Good fun for cult movie fans.

If you've ever seen to show, you know what to expect. A few classic moments of inspired absurdity among the usual cheesiness make it entertaining camp.

An inventive and original sci-fi thriller makes great use of its low budget with Richard Stanley's sharp filmmaking and some impressive practical special effects. Definitely deserves to be better know, a cult classic.

Affable comedy with a likable cast (especially the always entertaining John C. Reilly at his best), though it is predictable and plays safely within its quirky indie comedy territory. A pleasant enough watch, but only light-weight entertainment.

Cronenberg's increasingly subtle precision filmmaking is once again on full display, helped along by Christopher Hampton's smart writing (making some interesting use of fragmented pacing) and some excellent performances. It may not be among Cronenberg's very best, being a bit overly genteel at times, and maybe more intellectually satisfying than emotionally; but still a great piece of work.

As a thriller it falls pretty short, with some major leaps in logic and suffering from a horribly prolonged and repetitive finale. But what makes it compelling at its best moments are a number of intriguing concepts regarding the media and technology, also Albert Finney and Susan Dey are likable as the leads. An incredibly flawed film, but also one of Michael Crichton's most interesting works as a director.

An interesting documentary about the frustrations of the creative process, especially in the face of culture clash. It gets a little odd when it tries to dig deeper into the background of a side character, but most of the time maintains a compelling, breezy tone. Especially of interest to those interested in the entertainment industry.

Funny, but flawed and a bit overrated. The cast is likable and there are a number of strong moments - Kristen Wiig's freak-out on the plane is a high point. But it could be a lot tighter in places and goes a little too over the top at times, and it also tips the scales a bit too far into sentimentality in the second half, as is often the risk with the Apatow formula. Still, entertaining.

Typical mumblecore minutia-fest complete with all the usual ingredients: annoyingly banal characters spouting inane dialogue in between long pauses, completely pointless storylines cheaply and lazily shot, and of course, long stretches of nothing happening while a bland indie song from the director's friend's band plays in its entirety. A chore to sit through.

An amiable goofy comedy, but light on real big consistent laughs. A pleasant enough watch, but nothing all that memorable.