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.

If Shaft were indeed a hard-hitting, fast-paced, action-packed detective thriller, as it was meant to be, then it would be an acceptable entertainment. But it isn't.

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.