Tuhan Bay is great and the visual atmosphere never loses its grip, but Amazing Mr. X slogs to a finish.
Author: Matt Paprocki
Matt Paprocki has critiqued home media and video games for 20 years across outlets like Washington Post, Variety, Rolling Stone, Forbes, IGN, Playboy, Polygon, Ars, and others. His current passion project is the technically minded DoBlu.com. You can follow Matt's body of work via his personal WordPress blog, and follow him on Twitter @Matt_Paprocki.
The Incredible Shrinking Man is among the '50s best sci-fi offerings, draining a man of his domestic masculinity while delivering appropriate nuclear-era thrills.
With much of the horror sourced from sheer boredom, Frankenstein's Daughter feels desperate to hold on to classic horror's last vestige of relevancy.
Attempting to bring intelligence into the sarcastic action genre, The Protege has moments of success between a familiar revenge story.
Socially and culturally ahead of it time, Anatomy of Murder finds a courtroom case worthy of a more open time in American history.
Classier than most drug/crime dramas, Carlito's Way brings a vintage feel to a genre that turned toward merciless violence, but that doesn't mean it works either.
Stripes has its moments as a military based Animal House, but the anti-authority bent doesn't have enough bite coming from Ivan Reitman.
Free Guy takes the crown of the best videogame movie because it understands and satirizes the culture.
Psychologically harrowing as a thriller and a captivating commentary, Silence of the Lambs retains its classic status through the decades.
Kathy Bates sells Misery's unnerving horror satire of the extreme religious right with gusto, and the blind cruelty is cinematic legend.
Lon Chaney Jr helps The Wolf Man overcome a fairly dry genre story by keeping the focus on character over horror.
James Whale's direction flawlessly balances The Invisible Man's horror and comedy, while not forgetting what makes the character compelling.