Forgettable nostalgia trip from 1974, shot in 16-millimeter by the enterprising Stephen Verona and Martin Davidson. Somehow, this little exploitationer ended up launching the careers of Sylvester Stallone, Henry Winkler, Perry King, and Susan Blakely.

Jonathan Demme's debut film is campy, choppy, and generally immature, though his bonding themes are fitfully discernible amid the cartoonish action.

Gene Hackman excels in Francis Ford Coppola's tasteful, incisive 1974 study of the awakening of conscience in an electronic surveillance technician.

Gordon Hessler directed this 1974 British feature, whose main raison d'etre is some first-rate “Dynamation” special effects from Ray Harryhausen, including a ship's figurehead that springs to life and Sinbad crossing swords with a six-armed statue.

Carpenter creates a vision of the technological future that is both disillusioned and oddly affirmative in its insistence on the unscientific survival of emotional frailty.

A cool, at times unbearably objective look at the fragile relationship between two rather ordinary young people in Depression America (Keith Carradine and Shelley Duvall), who happen to rob banks and get shot at a lot.

One of the funniest awful movies ever made.

Well-intentioned tripe, directed with made-for-TV solemnity by John Korty.

The Chicago locations are well used by veteran director George Roy Hill, and the wonderful 30s movie style (lots of horizontal and vertical wipes, flipping screens, irises in and out) enhances the sense of good, harmless, nostalgic fun.

An ungainly collection of one-liners and misdirected sight gags that hardly qualifies as a movie. But as a stand-up routine it's a scream.

No sense of complicity between filmmaker and spectator, no depth, no ambiguity, no production value spared, plenty of running time and pomposity, and a desperate sense of trying to do everything and please everybody.

A tough-talking, sparely directed effort by Hal Ashby, with an immaculate performance by Jack Nicholson as the arrogant and salty (but feeling) sailor who tries to stay in charge of the odyssey, and almost doesn't.

A frightening and consistently inventive horror story... It's busy on the surface and empty in the center, but somehow it works.

A virtuoso performance by Al Pacino and some expert location work by Sidney Lumet add up to a tour de force genre piece. (Review of Original Release)

The film has a flat quality that cannot entirely be overcome by the sensational animation and the obvious good intentions of its creators.

On the whole, enjoyable nonsense.

What sinks this one is the utter lack of the childhood insight and sympathy that really give the Disney films their staying power.

A stiff in spite of an interesting cast.

A film about marriage that works reasonably well as a star vehicle for Robert Redford and Barbra Streisand, but fails resoundingly as the caustic social comment director Sydney Pollack and writer Arthur Laurents obviously intended.

This 1973 feature is one of the finest examples of action montage from its period, a dynamite piece of work.

Assisted by Gordon Willis's cinematography and John Houseman's performance as the demanding Professor Kingsfield, director James Bridges manages to do a fair job with the semihokey material.

A film so rich in ideas it hardly knows where to turn. Transcendent themes of love and death are fused with a pop-culture sensibility and played out against a midwestern background, which is breathtaking both in its sweep and in its banality.

Martin Scorsese's intrusive insistence on his abstract, metaphysical theme—the possibility of modern sainthood—marks this 1973 film, his first to attract critical notice, as still somewhat immature, yet the acting and editing have such an original, tumultuous force that the picture is completely gripping.

A lesbian love triangle becomes a schema of sexual power plays in Rainer Werner Fassbinder’s most harshly stylized and perhaps most significant film.

It’s a historical marker in a way that few other films are — not only the nail in the coffin of the French New Wave and one of the strongest statements about the aftermath of the failed French revolution of May 1968, but also a definitive expression of the closing in of Western culture after the end of the era generally known as the 60s.

A genuinely compelling film about athletics—and there haven't been many—based on a story by Mark Harris and directed by John Hancock. The material is trite, but Hancock's slow-motion treatment of the experience of athletic performance is adroit and graceful.

Full of delirious color symbolism and macho cruelties, but not without its humor as well. The story is pure dime-store allegory, but the director/star knows his western cliches and uses them like a master.

Ripping entertainment overall, with just enough meat for amateur sociologists.