It is an unsatisfying film because we know no more about the people at the end than we did at the beginning, in fact, very little at all.

Memorable images. Immemorable film.

It is the closest the sound film has come to recapturing the genius of the silent movie chase comedy.

It is fresh and spontaneous, plausible at its most logically improbable, thanks to Altman's superior direction, Lardner's script, the fine selection of actors and to an omnipresent camera under director of photography Harold E. Stine and operator Bill Mendenhall.

It is a great film and will be an exceptionally popular and profitable one.

Easy Rider is very likely the clearest and most disturbing presentation of the angry estrangement of American youth to be brought to the screen.

It is simply one of the most exciting and intelligent action films in years, probably the best good-cop film we can expect to encounter.

It is a flashy, undemanding technical achievement, enhanced by the marquee power of Steve McQueen and Faye Dunaway.

Planet of the Apes is that rare film that will transcend all age and social groupings.

It is, as promised, "a majestic visual experience," quite unlike any film we have ever seen...These details are merely a means employed by Kubrick and his distinguished screenplay collaborator Arthur C. Clarke, to provoke the more limitless imaginings of the mind, to assault the viewer with tantalizing enigmas to force exploration of that personal universe in relation to time and space, meaning and potential.

A brutally funny look at contemporary youth, encrusted with status symbols and guilt for gilt rejecting the weights of privilege to rail against the tides of society they would rather reject than succumb to, rather question than attend to. Both tuned and attuned to its subject and on target for most of its course, this second film from director Nichols will benefit from enthusiastic word of mouth, winning a large audience and corresponding profits from both sides of the 30 year demarcation line.

Gene Hackman, as the older brother who literally takes the back seat to Beatty, is just about perfect, while Estelle [Parsons] creates a richly detailed characterization as his petty wife, a preacher’s daughter.

A gripping and suspenseful murder mystery that effects a feeling of greater importance by its veneer of social significance and the illusion of depth in its use of racial color.

It is overlong, uneven and frequently obscure, but will succeed by virtue of its sustained action, even though what it attempts to say, if anything, remains elusive.

The Fortune Cookie is Billy Wilder's best picture since The Apartment, his funniest since Some Like It Hot.

Although for much of the way it tinkles along with the innocent merriment of a carousel, it dips into reality for its climax, and makes a valid and indelible impression.

Who's Afraid of Virginia Woolf? is an instant film classic, and Warner Bros. deserves the highest credit for making it a movie without compromise.

Doctor Zhivago is more than a masterful motion picture; it is a life experience.

The 20th-Fox release will be one of the movies' all-time hits, one of the all-time great pictures. It restores your faith in movies. If you sit quietly and let it take, it may also restore your faith in humanity. It does this with infectious wit, with consistent gaiety, with simple and realistic spirituality, with romance of heartbreak and heartmend. This is set against the most beautiful scenery you have seen in your life. The Sound of Music is quite a picture.

The picture is exquisite, extraordinary, a unique gem of filmmaking.

Baleful and brilliant, Dr. Strangelove; Or: How I Learned to Stop Worrying and Love the Bomb, will outrage a predictable percentage of the population and enthrall an even greater percentage.

Lilies of the Field is a funny, sentimental, charming and uplifting film, in which intelligence, imagination and energy are proved again to be beyond the price of any super-budget.

Miss Taylor needs something stronger than this to display her talents, and so does Burton.

A cheapo gothic horror film intended to ride the coattails of Psycho.

It's a peculiar kind of humor, but it does play.

A grim fable of modern man, a true art picture.

Cleopatra is not a great movie. But it is primarily a vast, popular entertainment that sidesteps total greatness for broader appeal. This is not an adverse criticism, but a notation of achievement.

Alfred Hitchcock has concocted an elaborate tease in The Birds, as if to prove that suspense and thrills can be induced as much by the expectation of horror as by horror itself.