The Deer Hunter - a film about three Pennsylvania steel worker buds who go off to fight in Vietnam, and how the war affects them and the people around them - was massively praised on release back in '78. Time has been a mixed bag for the film, though everyone would agree the acting, with Robert De Niro leading a cast of then mostly unknowns, is exceptional; it’s the film’s murky politics and point of view that has been put into question. Much of the reevaluation has arisen with the epic rise and brutal fall that director Michael Cimino went through. But regardless of what the film was trying to convey, what is on screen is a stunning looking piece of filmmaking. Like a great symphony, it is often gentle and quiet, but still emotional and then loud with a horn section of shocking violence, giving the film a massive punch to pack.

The amazing early part of Dustin Hoffman's career was filled with so many showy roles - Midnight Cowboy, Lenny, Strawdogs, and Little Big Man - but he ended the 1970s with perhaps the best performance of his career in Kramer vs. Kramer. This little film actually beat Apocalypse Now for the Best Picture Oscar. Which film you prefer may be debatable, but what isn't is that Kramer vs. Kramer is more than a little film. Robert Benton (co-writer of Bonnie and Clyde) took a simple little story of a career man learning about domestic responsibility and gave it a wallop of emotion that has helped it last the test of time.

Hoffman plays Ted Kramer, a New York ad-man married to Joanna (Meryl Streep) with a little boy, Billy (Justin Henry). One night after securing an important new account he comes home to find Joanna all packed and heading out the door. She leaves him...and Billy. Father and son have to learn to coexist - the usually selfish Ted has to learn to become a caretaker to his son and Billy has to get used to living without a mum. At first Ted doesn’t even know what grade his son is in and is forced to do what were then considered feminine chores like picking his son up at birthday parties and grocery shopping. But he learns to be a father and he and Billy build a special bond. Hoffman’s Ted obviously has a strong character arc and with the help of his single mother neighbor, Margaret (Jane Alexander), he develops a nurturing side to his tightly wound personality. This, of course, leads to his losing his job and, worse, after finding herself out in California, the icy Joanna eventually returns and fights to regain custody of Billy (hence the "vs." in the title).

Manhattan could be America's most moving film about the genuine love between a forty-something-year-old intellectual and a 17-year-old high school student. Well, it's about a bit more than that, but the central storyline is moving in ways few people can quite articulate, but are quick to call "brilliant." Both completely modern yet seemingly timeless, Woody Allen's 1979 film provides a picturesque tribute to one of the world's great cities, as well as a bold statement on finding romantic happiness in not so widely agreeable places.

Allen stars as Isaac Davis, a single father and writer living in Manhattan, who most would consider depressed. Involved in what he considers a meaningless relationship with the underaged Tracy (Mariel Hemingway), friends Yale (Michael Murphy) and Emily (Anne Byrne Hoffman) are concerned Isaac is wasting his life away with the girl while writing junk television shows. Isaac starts to re-evaluate his situation, however, after meeting Yale's mistress Mary (Diane Keaton). At first repelled by her "pseudo-intellectualism," he quickly develops an interest while her affair with Yale becomes more intense.

Based on the 1962 John Frankenheimer Cold-War classic, The Manchurian Candidate is the story of a group of soldiers who, upon returning home from war, suffer painful flashbacks of torture and brainwashing. “Major Ben Marco” (Washington) grips to reality trying to get at the truth before a possible corporate-designed “sleeper” (Schreiber) is elected to the White House.

Oscar winner Jonathan Demme (The Silence of the Lambs), helms one of the better remakes of classic cinema. The director is really able to illustrate the paranoia, warped sense of memory and the spiraling down into madness -- using the main character (Washington) as a mental road map.

The screenplay by Daniel Pyne and Dean Georgari, (based on the novel by Richard Condon and the original screenplay by George Axelrod) manages to contemporize the communist tale, moving the action into the Middle East of the first Gulf War. They retain the core elements of the story, while giving it a modern feel more accessible to today’s audiences.