Unquestionably, there is a good story here — as Universal itself demonstrated some years ago in Seven Bridges to Cross. But Friedkin has failed to tell it.

Carpenter creates excellent tension throughout and he avoids excessive blood and gore in the murder sequences. The violent actions are mostly implied more than graphically depicted, which serves to heighten the effect.

Battlestar Galactica is a poor man's version of Star Wars — poor in every detail, including writing, pacing, characterization and, above all, imagination.

Hooper has all the action that fans of this genre could ask for, plus a whole lot more.

While we can readily identify these characters, we can't identify with them simply because Hill never bothers to tell us what makes them tick.

The visuals here...are never less than stunning in their impact, yet always seem well within the realm of possibility. It is also to Spielberg's credit, however, that despite all of this visual opulence, his actors are never dwarfed.

While the joke wears thin very quickly, there are a number of amusing sequences, which are combined with some exciting road action to provide a mildly entertaining — and totally mindless — film.

Lucas combines excellent comedy and drama and progresses it with exciting action on tremendously effective space battles. Likeable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects ever to illuminate a motion picture screen. The result is spellbinding and totally captivating on all levels.

The movie falls short of greatness, but it compares more than favorably not only with the usual concert film (good as a few of them are) but also with the current love stories on film.

On paper, neither character may seem terribly appealing, but on the screen they steal your heart away, but completely...Not only did that last reel include some of the most wildly exciting fight footage ever put on the screen, but it also provided an emotionally gratifying capstone to a picture that is truly an ode to the human spirit.

Whatever its flaws, Network is a picture that can stand on its own. And does.

One has the impression that Goldman realized you can push a good thing just so far, or that audiences will follow reportorial plotting just so long.

Beneath the mild verbal shocks lay an excellent screenplay handled by real talent.

With One Flew Over the Cuckoo's Nest, Forman takes his rightful place as one of our most creative young directors. His casting is inspired, his sense of milieu is assured, and he could probably wring Academy Award performances from a stone.

Perhaps the most perfectly constructed horror story in our time.

More than in any previous Altman movie, we are made to feel the pathos and vulnerability of those impoverished souls he draws so well.

It is good-natured, lowbrow, backlot, hit-or-miss humor, but with no cumulative effect beyond its succession of hard-worked jokes. More theatrical than cinematic in its conception, this group effort relies on the improvisation of its performers.

It is neither a very happy or driving picture. But it is intellectually daring and marks an important breakthrough in the growing up of the Hollywood film.

Brooks' fast-paced direction is a masterpiece of comedy detail, filled with delightful and perfectly timed sight gags.

Laurents' screenplay has a shocking sense of character truth, and The Way We Were says things that no one else has dared to say in a major Hollywood movie.

If director John Hancock's work is sometimes atmospherically colorless, he pulls scenes together that seem to be going nowhere and acquits himself most notably with the performers.

Bruce Lee's last movie is the only one that gives him the star treatment he deserved. His charismatic presence is remarkable in Enter the Dragon, and it's a shame he didn't have the chance to become the great, unique star he seemed destined to be.

The ingeniously structured screenplay by Katz, Huyck and Lucas offers up a load of wonderful characters who whirl about in ducktail haircuts and shirtwaist dresses, lost in the obscenity of American culture. Thanks to some of the most spirited, daffy dialogue since Lubitsch, their sweetness is deliriously funny. No matter how high the dramatic stakes become, the movie never loses its sense of humor, and although it has a lot to say, it's gloriously free of pretensions.

Conjures up a terrifying vision of the future that is made all the more urgent by today's inflationary food prices and fast approaching energy crisis.

A gloriously inspired tribute to Hollywood that never loses sight of what Los Angeles has become.

Redford, who dominates the picture, has never been more assured or appealing.

Director Francis Ford Coppola, with a strong assist from cameraman Gordon Willis, has done an extraordinary job of capturing period and place.

Norman Jewison's Fiddler on the Roof is a lavish, carefully made, splendidly designed musical film. It demonstrates once again that ample amounts of time and money, intelligently employed, can indeed buy perfection.