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2001: A Space Odyssey (1968) |
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"Highly recommended, this film is one for every film lovers library." | |
J. Saxon | |
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2001: A Space Odyssey (1968) |
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"Full of the most awe-inspiring images in all cinema, 2001: A Space Odyssey marries drifting spacecraft with classical music, and it works beautifully." | |
Noel O'Shea | |
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The Abyss (1989) |
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"The Abyss: Special Edition stands as a testament to suspense/sci-fi/fantasy film and is more than worth checking out." | |
J. Saxon | |
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The Abyss (1989) |
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"The most cringe-worthy dialogue this side of a Sly Stallone flick." | |
Noel O'Shea | |
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Alien (1979) |
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"You could hear a pin drop during the more tense moments of Alien in theatres back in 1979." | |
Noel O'Shea | |
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Aliens (1986) |
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"A non-stop actioner that will leave you breathless." | |
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9/10 |
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American History X (1998) |
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"Stylish, emotionally resonant, and unflinchingly gritty, American History X is clearly one of the year's best films." | |
Anthony Leong | |
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Armageddon (1998) |
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"If you're looking for brainless, manipulative fun -- look no further. And it has some pretty spiffy special effects." | |
Michael T. Grace | |
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Armageddon (1998) |
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"Yep, every angle covered... almost. They forgot something; plausibility." | |
Noel O'Shea | |
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Austin Powers: International Man of Mystery (1997) |
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"Any movie which has a woman named Alotta Fagina in it is worth seeing!" | |
Michael T. Grace | |
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Basic Instinct (1992) |
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"An implausible, wildly over-the-top thriller, with incredibly inept dialogue and supremely fuzzy characterisations, but -- and here's the irony -- it all adds up to wonderfully compelling entertainment." | |
Noel O'Shea | |
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8/10 |
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Before Night Falls (2000) |
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"There are many sequences in the film that are pure art in the way sight and sound have been united on the screen." | |
Anthony Leong | |
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Blade Runner (1982) |
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"Philip K. Dick's seminal SF novel Do Androids Dream of Electric Sheep? is here transformed into a superior genre film, thanks to Ridley Scott's direction and visual futurist Syd Mead's amazing architectural prophecies." | |
Noel O'Shea | |
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Blue Velvet (1986) |
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"One of the few masterpieces of the Eighties, a gut-wrenching exposè of the seamier side of homespun Americana." | |
Noel O'Shea | |
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Carrie (1976) |
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"De Palma's visual bravura elevates the film beyond mere plagiarism, and the deeply-felt emotions of the characters was something fresh in the genre in the mid-Seventies." | |
Noel O'Shea | |
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Citizen Kane (1941) |
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"It showed its audience, and more significantly, Welles' fellow filmmakers, what cinema could do. Every American film made since owes it a sincere debt of gratitude." | |
Noel O'Shea | |
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Close Encounters of the Third Kind (1977) |
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"Close Encounters is a wondrous mixture of modern filmmaking techniques and the sensibilities of Walt Disney." | |
Noel O'Shea | |
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The Deer Hunter (1978) |
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"As a Vietnam War film, The Deer Hunter is as compelling as most others in the genre; as drama The Deer Hunter is superb." | |
Noel O'Shea | |
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Ever After: A Cinderella Story (1998) |
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"What is most endearing of Ever After are the well-fleshed out characters that populate it." | |
Anthony Leong | |
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Ever After: A Cinderella Story (1998) |
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"A splendid surprise." | |
Michael T. Grace | |
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The Exorcist: The Version You've Never Seen (2000) |
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"The Exorcist gets right to the heart of what scares us, and mounts an assault on our primal fears." | |
Noel O'Shea | |
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10/10 |
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The Family Man (2000) |
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"It manages to spread a little holiday cheer while serving as a springboard for self-reflection." | |
Anthony Leong | |
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Frankenstein (1931) |
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"To look into Karloff's limpid eyes, is to look into the essence of horror itself." | |
Noel O'Shea | |
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The Good, the Bad and the Ugly (1966) |
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"Big, baroque, brilliant." | |
Noel O'Shea | |
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A+ |
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Heat (1995) |
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"Mann packs more into the nearly three-hour running time than most directors have achieved in their entire careers, and the film remains the director's best work to date." | |
Noel O'Shea | |
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The Iron Giant (1999) |
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"Incredible! Amazing! Terrific!" | |
B. DeMoss | |
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10/10 |
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The Iron Giant (1999) |
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". It transcends it's medium to become not only an excellent animated movie, but an excellent movie." | |
Michael T. Grace | |
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Jaws (1975) |
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"It was certainly the shocking opening that audiences expected from a film with such a catch-all title, and the rest of the movie wasn't half bad either." | |
Noel O'Shea | |
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King Kong (1933) |
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"This masterpiece has been the inspiration for many an inferior film ... but there never was a film to catch the imagination in quite the same way as the unbeatable original." | |
Noel O'Shea | |
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9/10 |
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The Matrix (1999) |
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"A slam-bang sci-fi spectacular that shouldn't work, but somehow does." | |
Anthony Leong | |
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North by Northwest (1959) |
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"Served up in Hitchcock's inimitable style, and with a liberal helping of thrilling suspense sequences that act like musical notes in a symphony, this film is one of the very best films made in the Fifties." | |
Noel O'Shea | |
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Pay It Forward (2000) |
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"What could have been a stirring, touching drama, like The Sixth Sense or Magnolia, unfortunately becomes soap opera mush." | |
Mike Jasik | |
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9/10 |
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Princess Mononoke (1997) |
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"Like all of Miyazaki's work, the animation is pristine and often breathtaking, particularly the sharply realized action sequences." | |
Anthony Leong | |
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Psycho (1960) |
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"It remains the scariest film ever made." | |
Noel O'Shea | |
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The Replacements (2000) |
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"A mildly entertaining waste of time." | |
Josh Costello | |
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10/10 |
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Saving Private Ryan (1998) |
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"A powerful piece of work." | |
Anthony Leong | |
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Saving Private Ryan (1998) |
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"An intense, emotional ride through the hideous bowels of a war torn Europe." | |
M. Rodela | |
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Saving Private Ryan (1998) |
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"One of the finest, and the most thought-provoking film released in quite awhile." | |
Noel O'Shea | |
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10/10 |
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Shakespeare in Love (1998) |
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"It is rare to see a film in which the performances, writing, narrative structure, direction, humor, and production design combine to create an outstanding and enchanting piece of work that is in essence, pure poetry." | |
Anthony Leong | |
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Shakespeare in Love (1998) |
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"Patient filmgoers who can take pleasure in the inspired moments of it's secondary cast may find it worth the outlay." | |
Bill Bischoff | |
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Shanghai Noon (2000) |
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"A suprisingly sturdy piece of fluff with some real razzle-dazzle in the fighting department, and pretty funny too." | |
Adam Prosser | |
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The Shining (1980) |
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"No other horror film looks quite like this one, and John Alcott's superb cinematography is the reason for this." | |
Noel O'Shea | |
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The Sixth Sense (1999) |
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"Some modern-day moviegoers weaned on thrill-a-minute filmmaking may grow tiresome of the films deliberate pace, but it is appropriate to the material. Subtlety in this genre is hard to find." | |
Bill Bischoff | |
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Snatch (2001) |
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"Deserves better, because it is." | |
Mike Jasik | |
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There's Something About Mary (1998) |
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"There a lot of uncomfortable, albeit hilarious scenes." | |
Michael T. Grace | |
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Titanic (1997) |
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"Titanic is a very well-balanced film, with something to offer everyone." | |
Anthony Leong | |
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The Truman Show (1998) |
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"There were some moving scenes, hilarious comedy, and a dramatic finale." | |
J. Holloway | |
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Unforgiven (1992) |
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"If this is indeed Eastwood's last Western, then it's a helluva way to bow out." | |
Noel O'Shea | |
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Vertigo (1958) |
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"It's certainly the deepest, most thought-provoking film in Hitchcock's canon." | |
Noel O'Shea | |
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X-Men (2000) |
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"A good old-fashioned superhero action movie." | |
Eric D. Snider | |
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