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.

To Kill A Mockingbird is a product of American realism, and it is a rare and worthy treasure.

Whatever else it may turn out to be, What Ever Happened to Baby Jane? is certainly one of the most fascinating and unusual cinema items of the year, and one that will capture a huge amount of publicity and comment.

West Side Story is a magnificent show, a milestone in movie musicals, a box-office smash. It is so good that superlatives are superfluous. Let it be noted that the film musical, the one dramatic form that is purely American and purely Hollywood, has never been done better

Edwards’ direction is smart; he has a way with fashionable comedy. Axelrod’s treatment of the Capote story is convincing in the changes it has made although some of his devices are disappointing, being overly familiar. The script is not altogether neat.

The sequences crackle with vitality as well as setting subtly the characterizations and packing the explosives to be detonated later.

About two-thirds of the film is good, tough, unromantic period western. About one-third is sentimental nonsense and it bushwhacks the remainder.

This is a first-rate mystery thriller, full of visual shocks and surprises which are heightened by the melodramatic realism of the production.

The Apartment is an important and provocative film.

An extraordinary motion picture, greater in dimension and significance than any similar film of our time, Ben-Hur is more spectacular than any of the previous spectacles. More importantly, it is at the same time a highly rewarding dramatic experience, rich and complex in human values: a great adventure, full of excitement, visual beauty, thrills and unsurpassed cinema artistry.