Annie Hall: Winner of four Academy Awards including Best Picture and Best Director, Annie Hall is Woody Allen's supreme masterpiece. Coming between such early, slapstick farces as Sleeper and Love and Death, and darker, more reflective comedies like Manhattan and Hannah and Her Sisters, this endearing semi-autobiographical film put Woody in the league with the best directors we have.

Starring Allen as New York comedian Alvy Singer and Diane Keaton (in a Best Actress Oscar-winning role) as Annie, the film weaves flashbacks, flash forwards, monologues, a parade of classic Allen one-liners, and even animation into an alternately uproarious and wistful comedy about a witty and wacky on-again, off-again romance.

Manhattan: Nominated for two Academy Awards in 1979, and considered one of Allen's most enduring accomplishments, Manhattan is a wry, touching and finely-rendered portrait of modern relationships against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format), and accompanied by a magnificent Gershwin score.

42-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend (Mariel Hemingway) he doesn't love, and a lesbian ex-wife Jill (Meryl Streep) who's writing a tell-all book about their marriage... and whom he'd like to strangle. But when he meets his best friend's sexy, intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginning of Isaac's quest for romance and fulfillment in a city where sex is as intimate as a handshake - and the gate to true love... is a revolving door.

Hannah And Her Sisters: Brimming with laughter, tears and subtle beauty, Hannah And Her Sisters won three Oscars, and features a brilliant all-star cast.

The eldest daughter of show-biz parents, Hannah (Mia Farrow) is a devoted wife, loving mother and successful actress. A loyal supporter of her two aimless sisters (Barbara Hershey) and Holly (Dianne Wiest), she's also the emotional backbone of a family that seems to resent her stability almost as much as they depend on it. But when Hannah's perfect world is quietly sabotaged by sibling rivalry, she finally begins to see that she's as lost as everyone else, and in order to find herself, she'll have to choose - between the independence her family can't live with... and the family she can't live without.