Even more enjoyable than the original. [19 June 1981]

Raiders of the Lost Ark is, in fact, about as entertaining as a commercial movie can be. What is it? An adventure film that plays like an old-time 12-part serial that you see all at once, instead of Saturday-to-Saturday. It's a modern "Thief of Baghdad." It's the kind of movie that first got you excited about movies when you were a kid.

A dull and lethargic comedy. [19 June 1981, p.2-8]

Richard Pryor and Cicely Tyson star in a thorougly likable comedy about an ex-con and a schoolteacher who take a bunch of ghetto kids to a farm in Washington. Some foul language gets in the way of this being a film suitable for the entire family.

He's a washout at the car wash, she's a waitress with a dream. Together they motor off to Tinseltown in search of fame, glory and, maybe, Bert Convy. It's a country-western love story that'll tug at those heartstrings, folks, and, no, I'm not making any of this up. [21 June 1985, p.6C]

Sylvester Stallone and Billy Dee Williams star in a thriller about New York detectives trying to capture an international terrorist. The story is full of holes but compelling nevertheless because we do grow to hate the terrorist and want him stopped. [19 June 1981, p.8]

The worst part of the night isn't the Aqua Net hair or the sweaty '80s dancing. Murder is the theme of the evening.

Nine to Five is a film full or surprises - some pleasant, other disappointing. The most pleasant surprise is the appearance of Dolly Parton, who with this one film establishes herself as a thoroughly engaging movie star. The biggest disappointment is that this Jane Fonda comedy about a trio of secretaries out to get their boss doesn't have more bite. [19 Dec 1980, p.2-1]

A routine Neil Simon comedy with Goldie Hawn ,Chevy Chase, and Charles Grodin mixed up in a story about an innocent bank robber and a power-hungry district attorney. Hawn has been married to both. Not very funny, but the dogs are cute. [19 Dec 1980, p.10]

Richard Pryor is a scream as a wrongly accused bank robber. Gene Wilder is just so-so as his partner. [19 June 1981]

A charming, adult-oriented saga of the famous cartoon character that comes alive only when Popeye finds his baby, Swee'pea. [19 Dec 1980, p.10]

A dumb and purposefully cheesy version of the comic strip space hero. Although the film has a few early moments of put-on humor, the story has nowhere to go. Sam Jones is not very bright as Flash. Only Max von Sydow as Ming the Merciless brings any style to the adventure. Only for the juvenile set. [19 Dec 1980, p.10]

Filmed in black-and-white and shockingly well acted by De Niro, Raging Bull suggests that if you are looking for the source of evil in the world, you don't have to look any further than yourself. It's inside you or it isn't. And it comes out or it doesn't. [19 Dec 1980]

An engaging yarn about a wealthy kid who learns to fight his way out of trouble in a rough Chicago public school. He also learns not to believe in labels placed on people. [19 Dec 1980, p.10]

Wonderful performances by Donald Sutherland, Mary Tyler Moore, and Timothy Hutton. [19 Dec 1980, p.2-10]

Caddyshack has a low-budget look that warmly welcomes the all-important teenage audience. It looks like a film they could have made. And everyone associated with the film—in front of and behind the camera—is aware that he or she is making a frivolous film...That's why Rodney Dangerfield's cornball jokes and spritzing barbs are so perfectly right for the film. These are throwaway jokes for a most disposable motion picture, the kind of film that drive-ins were designed to play.

A stylish, violent thriller about a sexually frustrated woman (Angie Dickinson), whose fantasies lead to a murder mystery. Directed by Brian De Palma ("Carrie"). Effective, but not for the kids. [1 Aug 1980, p.4-10]

A sometimes-funny, dope related comedy with the team of Cheech and Chong trying to survive in the city while having a very high time. [1 Aug 1980, p.4-10]

A dreary, Carrie-type shocker about a high school student seeking to kill a bunch of classmates on their prom night. Very few thrills. [01 Aug 1980, p.10]

Whimsical, well-crafted comedy-mystery in which detective Chevy Chase returns to Earth in the body of that charming little mutt, Benji. A surprisingly adult film in several ways -- there's some middle level profanity and as much wit and pathos as there is cuteness. [11 July 1980, p.8]

A sometimes silly, occasionally hilarious, and often sophomoric spoof of airline disaster films in which a passenger tries to land a disabled plane. Some of the jokes are tasteless, but there is a general air of good cheer as the script laughs most of all at the already laughable "Airport" movie series. [11 July 1980, p.3-8]

It's supposed to be one of those stories of a child's innocence - that means nudity - told in an unfettered way. But the young people in the film who grow up together on a tropical island are dumb-dodo types. As a result all we watch for is the nudity and, it turns out, teen-ager Brooke Shields is doubled in her nude scenes by a 31-year-old model. So much for truth and innocence. [11 July 1980, p.8]

An exceptional comedy...Car wrecks and blues-related music galore in the best movie ever made in Chicago. [11 July 1980, p.3-8]

Robert Redford stars as a reform-minded prison warden fighting for his life against a corrupt prison system. Competent but dreary. [11 July 1980, p.8]

Clint Eastwood's most entertaining film in years, a whimsical fable about a Wild West showman with a dream of turning his rag-tag employees into one big happy family. Great country music mixed with Eastwood's natural charm. [11 July 1980, p.8]

John Travolta stars as a Texas construction worker who spends his nights chasing a woman and the cowboy myth in a huge honky-tonk bar. Debra Winger is a standout as the object of Travolta's anger and affections. [11 July 1980, p.8]

Hollywood Knights mock of authority, slob heroes and snob villains, and raunchy, gross-out humor invite comparisons to "Animal House" and "Porky's." [11 May 2000, p.6D]

Disappointing... Jack Nicholson parodies himself while Kubrick fails to provide any thrills. [11 July 1980, p.8]