Pauline Kael

William Wellman's direction is more leisurely than usual; he has such good material here that he takes his time.

One of the best of the lighthearted rah-rah collegiate musicals.

Orson Welles' portrait of the friend, Harry Lime, is a study of corruption - evil, witty, unreachable.

A big, enjoyable musical biography, well directed by Michael Curtiz.

A low-budget winner--a romantic fable about a Philadelphia palooka who gains his manhood, written by and starring muscle-bound Sylvester Stallone, who is repulsive one moment, noble the next. He's amazing to watch.

Vincente Minnelli directed, in a confident, confectionery styles that carries all--or almost all--before it.

Fast and enjoyable, with Poitier's color used for comedy.

This unapologetically grown-up movie about separating is perhaps the most revealing American movie of its era. Though the director, Alan Parker, doesn't do anything innovative in technique, it's a modern movie in terms of its consciousness.

Overall, it's a terrific movie, even though the pacing doesn't always seem quite right.

The movie is a romantic adventure fantasy--colossal, silly, touching, a marvelous Classics Comics movie (and for the whole family).

(Fisk) gives us flowing, expressive images that linger in the memory. What also lingers in the memory are some of the performances Fisk gets: Spacek in particular, who seems grown up, and Roberts, who is unexpectedly simple and open.

Susan Sarandon does inspired double-takes - just letting her beautiful dark eyes pop.

Midler gives a paroxysm of a performance - it's scabrous yet delicate, and altogether amazing. The movie is hyper and lurid, yet it's also a very strong emotional experience, with an exciting visual and musical flow, and there are sharply written, beautifully played dialogue scenes.

This piece of Pop Art Americana is a clever, generally engaging screwball comedy.

The film, directed by Perry Henzell, is feverish and haphazard, but the music redeems much of it, and the rhythmic swing of the Jamaican speech is hypnotic.

The script (John Farris's adaptation of his novel) is cheap gothic espionage occultism involving two superior beings--spiritual twins (Andrew Stevens and Amy Irving) who have met only telepathically. But the film is so visually compelling that a viewer seems to have entered a mythic night world; no Hitchcock thriller was ever so intense, went so far, or had so many "classic" sequences.

Harlow is intensely liable, delivering her zingy wisecracks with a wonderful dirty good humor, and Gable is at that early peak in his career when he is so sizzlingly sexual that it seems both funny and natural for the two women to be fighting over him.

Michael Ritchie's direction is highly variable in quality, but he's a whiz at catching details of frazzled behaviour.

This slapstick adventure comedy is in the commercial genre of Raiders of the Lost Ark, but it's a simpler, more likable entertainment than Raiders; it doesn't leave you feeling exhausted.

Directed by Irvin Kershner, the film has a few shocking fast cuts, but it also has scabrous elegance and a surprising amount of humor.

The whole thing became amorphous and confused. Paramount did rather better by the romance than the politics; Ingrid Bergman is lovely and affecting as Maria.

A rowdy burlesque of the Dracula movies, set in Manhattan, with dilapidated stuffed bats and a large assortment of gags; some of them are funny in a low-grade, moldy way, and some are even stupidly racist, but many are weirdly hip, with a true flaky wit.

The director, Irving Rapper, is just barely competent, and the action plods along, yet this picture is all of a piece, and if it were better it might not work at all. This way, it's a schlock classic.

It's about Scorcese and DeNiro's trying to top what they've done and what everybody else has done. Scorcese puts his unmediated obsessions on the screen, trying to turn raw, pulp power into art by removing it from the particulars of observation and narrative.

You're entertained continuously, though you don't feel the queasy, childish dread that is part of the dirty kick of the horror genre.

Milos Forman trudges through the movie as if every step were a major contribution to art, and he keeps the audience hooked.

There's no denying that for many people sequences such as Bambi's birth have an enduring primal power.

The film has an original, feathery charm.