Gleefully trashy BONNIE AND CLYDE ripoff, served up the Corman way.

One would think that director Saul Bass, whose credit sequences for such films as Hitchcock's PSYCHO are nearly as interesting as the films themselves, could pump some energy into this potentially interesting premise, but all he comes up with is an overly intellectual bore.

Deftly employing split-screen and slow-motion techniques, Aldrich makes the most of Tracy Keenan Wynn's incisive script, aided by fine cinematography and tight Oscar-nominated editing.

Harry and Tonto is a sweet, sentimental road movie that draws force and relevance from Carney's touching and subtle performance.

The Wicker Man is intelligent entertainment that takes its subject seriously without resorting to gratuitous effects to make a point. It remains a fine example of occult horror that remains with the viewer well past its conclusion.

Bring Me The Head Of Alfredo Garcia does have some sloppy photography, a few unintentionally humorous scenes, and an excess of Peckinpah's signature slow-motion violence, but it stands as one of Peckinpah's more daring films.

Brilliant performances by young, inexperienced actors help make this picture work.

A film such as this, which is essentially a series of comic vignettes without a plot, depends upon its performances, and both Gould and Segal are in top form, providing an example of impov at its best.

Amateurish, badly acted and shot on the cheap (many sequences don't even have sync sound), this cult item features a 40-minute car chase (almost half the film's running time) that's nothing short of breathtaking, particularly in light of the obvious budgetary constraints.

The violence is excessive and the plot predictable, although there is some style to director Winner's approach.

Competently made but highly contrived so as to evoke as many "aw's" as possible in an hour and a half, this movie is only for the extremely naive.

It's impossible not to get a nostalgic buzz as the hosts wander around the old sets and soundstages, while the anthology of clips creates a wonderful sense of popular culture during Hollywood's halcyon days.

A wonderfully brooding, suspenseful revisitation of the land of film noir, Chinatown is not only one of the greatest detective films, but one of the most perfectly constructed of all films.

This is one of the best political thrillers of the 1970s.

An aimless and unexciting science-fiction story about a computer scientist, Segal, who undergoes brain surgery and is transformed into a maniacal murderer.

Egregious kiddie slapstick, punctuated by shameless overacting.

An offbeat Italian western that has a sense of cocky fun about it.

A crisp, well-written cast caper movie sporting some stunning landscapes and a fine core of performances.

Daisy Miller as a book is a good read, but the film by Bogdanovich is truly a dud in spite of handsome sets and an intelligent writing job.

There is practically no plot, and even less character development, but the script is based on a novel, most likely a thin one.

Disappointing effort from Siegel, although not without some interesting philosophical "hero-antihero" questions.

Really lame.

Anyone who grew up in the Brooklyn of the 1950s will recognize the essential honesty of this picture.

An exciting film, and one that proves that even the most exploitative of films can make a relevant statement.

One of Coppola's very best.

The film moves well and never loses its gripping tension, but the lighthearted tone of the beginning takes a dive into an abyss that shocks many viewers.

Where Coffy had an exhilarating sense of fun underlying the mayhem, Foxy Brown is a darker, more mean-spirited picture. Rather than treating Foxy's travails as a setup for the inevitable vengeance, it seems to revel in her degradation.

This sequel to the terrific The Seventh Voyage of Sinbad, is great fun--with a minimum of plot and a maximum of wonderful Ray Harryhausen special effects.

Carpenter's first directorial effort, an intermittently hilarious satire on 2001--A SPACE ODYSSEY. Carpenter's spaceship is piloted by four goofy astronauts who live like slobs and are bored out of their skulls by their long, uneventful mission.

A rather sorry excuse for a horror film--even Peter Cushing's distinguished presence doesn't help.

Here, writer Fraser and director Lester went back to the original and hewed closely to the source material, but adding a lot of fun. Some good slapstick combines with moments of real drama and menace to make this movie a winner.

Blood sprays, limbs fall, bodies are chopped in half--business as usual in this moderately diverting feudal Japanese revenge story, enlivened by peculiar plot twists and offbeat cinematic flourishes that greatly influenced Quentin Tarantino's Kill Bill Vol. 1 and Vol. 2.

A well-done remake of They Live By Night that's slightly long but unusually free of Altman's customary indulgences.

What really lessens SADDLES is that its intentions aren't clear. Its humor provoked no thinking; insensitive moviegoers assumed the racial put-downs and cowboy crudeness were deliberate. The public loved the film--it stands as the highest grossing western in history--$45 million plus! But they loved it for all the wrong reasons.

Frequently brilliant director Boorman--always an interesting visual stylist--falls flat on his face with this pretentious piece of science-fiction claptrap that presents its dull ideas in such a confused and annoying fashion as to anger even the most devoted fan of the genre.

This landmark TV-movie brings history to vivid life, never sacrificing moving personal drama to score sociological or political points.

This truly terrifying film version of the best-selling Blatty novel is far superior to the book.

One of the more graphically violent movies ever made, Magnum Force is shatteringly effective.

Vastly overrated Crooks-R-Us--this time you wear the moustache, enhanced by fine period trappings and flavor. Ultimately empty stuff, but preferable to "Butch Cassidy."

Although an extremely violent movie, THE LAUGHING POLICEMAN benefits from skillful pacing, a literate script, and fine performances by Walter Matthau and Bruce Dern.

The plot soon disintegrates into dumbness, despite Scott's believable portrayal of an aquatic Dr. Dolittle. The screenplay chooses some poor times to relieve tension, and the jokes fall flat.

Sleeper is a highly inventive science fiction parody that is typical of Allen's tight, well-edited movies. Costumes by Joel Schumacher are excellent.

Papillon was produced with consummate technical skill and offers brilliant acting by McQueen and Hoffman.

The Last Detail is a gritty look at the military life and the people who are attracted to it. It is dark in its message and gray to the eye. Locations are all washed out as though there were a thin membrane of filth spread across everything except the leads, who pop out colorfully like three strawberries in a bowl of Cream of Wheat.

A film which more than gets by on its directorial style, unforgettable imagery, and striking music alone, DON'T LOOK NOW also manages to be a haunting meditation on fear, death and the beyond.

When all is said and done, Pacino is the riveting presence that makes the movie work and it is difficult to imagine any other actor in the part. (Review of Original Release)

At least as much science fiction as horror, Horror Express has become a favorite in both genres and deservedly so. It's fast-paced, inventive, and wholly entertaining.

Eerie, surreal and a welcome respite from Disney-style animation, this French sci-fi allegory may not offer any mind-blowing insights (genocide is bad isn't exactly a new thought), but it's a trip.

The first film by director David Cronenberg, the black and white, hour-long feature Stereo is more self-consciously avant-garde, and less visceral, than his later work. Nevertheless, many of the usual Cronenberg concerns are present: a futuristic setting, bizarre scientific experimentation, and an obsessive exploration of perverse forms of sexuality.

The mise-en-scene is packed with colorful, often shocking images (blood and body wastes are recurring motifs) but orchestrated in a creative delirium.

Brynner is very good, his austere presence and unflinching intent making him seem indestructible.

Breezy is a small, personal film that allowed Eastwood to work with talented actors and experiment with directorial style. If he had chosen a more intelligent script, he could have produced a minor classic.

An inventive, well-animated, appropriately cast film.

Though some consider this one of Eugene O'Neill's finest plays, The Iceman Cometh does not translate well to the screen. No matter what Frankenheimer pulled from his bag of directorial tricks, the work remains stagey and talky on celluloid; even the majestic talent of March cannot turn it around.

An engrossing, if occasionally ludicrous, hit tearjerker with Pollack, Streisand, and Redford doing a good job of bringing Arthur Laurents' script to the screen.

A very well made caper film full of action and rich with character.

Bottoms is a Minnesota-bred law student who comes to Harvard and the lecture hall of Houseman, an instructor who seemingly takes great pleasure in puncturing his students' egos. Bottoms falls in love with Wagner. Essentially, this is a military school plot with a change of venue.

Director Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study.

Mean Streets is a brilliantly made film--terrifically acted, sharply photographed and crisply edited.

The intentionally artificial campiness of the story eventually becomes touching, as it's played out against the sound of The Platters singing Smoke Gets in Your Eyes and The Great Pretender.

THE MOTHER AND THE WHORE captures a sense of realism rare in any type of film, bringing us deep beneath the surface of the characters' exteriors.

One of the best baseball movies ever.

High Plains Drifter is a morality tale carved out of the harsh Western desert and directed with a panache that synthesized the styles of Sergio Leone and Don Siegel, two directors who had worked with Eastwood frequently. The result is one of the best Westerns of the 1970s.

Nobody shows much evidence of acting ability, and the script is full of holes. Nonstop action is what these films are about, and that's what you get here.

Yvonne Elliman is electrifying as Mary Magdalene, and Carl Anderson couldn't have been better as Judas; but Ted Neeley as Jesus is more whiny than heroic.

In a series of touching and telling vignettes, American Graffiti follows a memorable crew of small-town teenagers through one momentous night in 1962. Based on George Lucas' own teenage hot-rodding days in Modesto, California, the appeal of American Graffiti is in its fragmentary scenes; the nervous camera jumps from character to character to present a powerful collage of American youth on the brink of maturity and the complex experiences of the coming decade.

Generally regarded as the best of Reynolds good ol' boy films, with fine, sensitive performances by the leads and a wonderful supporting cast.

Fox is superb as the coldly impassionate killer, and Lonsdale is properly plodding yet magnificently analytical as the detective tracking him down. A taut, suspenseful, and fascinating political thriller.

Well written and subtly directed, The Last American Hero concentrates on the human elements of the story without becoming overly sentimental.

A fairly tame, fairly lame blaxploitation footnote, starring drop-dead gorgeous Tamara Dobson and her improbable wardrobe.

The moral message gets a bit too preachy at times, and the performances are somewhat wooden.

A lightness is maintained throughout, which leads one to believe the makers were not too concerned about taking their material seriously. The result is an unpretentious, sometimes funny, but not quite scary effort.

This eighth film in the Bond series marks the first appearance of Roger Moore as the superspy. Less macho than Sean Connery's Bond, Moore's fastidiously dressed 007 survives by his wits and injects more humor into the proceedings.

Yates's direction is grimly taut, and Monash's screenplay pulls no punches. A bit gruesome, but potent viewing nonetheless.

SCREAM, BLACULA, SCREAM benefits from a slicker presentation but the script is fairly unimaginative and fails to capitalize on the more intriguing aspects of the clash between voodoo religion and the vampire legend.

Director Milius is wholly unconcerned with portraying the criminals of the 1930s as they really were, mixing up facts and fiction in a tasteless stew of violence, blood, and human gore.

Episode number five of the APES series, is the last and least of the bunch, with a juvenile script and parsimonious production values more befitting the various APES merchandising tie-ins (including toys, comic books, and action figures) than the fourth sequel to one of the finest science-fiction films in history.

While director John Hough (Twins of Evil) does a fine job with the things-that-go-bump-in-the-night aspects of the material, he fails to breathe any life into Richard Matheson's woefully underdeveloped screenplay, which he adapted from his own novel.

The film is visually stunning, and Peckinpah makes great use of his Durango, Mexico, locations.

A powerful and complex performance by Connery is somewhat weakened by Lumet's typically stiff and stagey direction, which tends to sap the life out of the film.

A sluggishly directed look at life and death in the 21st century.

Bogdanovich's warmest film, featuring charming performances from real-life father and daughter Ryan and Tatum O'Neal.

If you're looking for nonstop, no-holds-barred exploitation, look no further. Pam Grier's first solo starring role is an enormously entertaining black action classic.

This somewhat haphazard affair combines witchcraft, feminism, and suburban angst into a creepy whole that is fascinating but not quite successful.

Wholly entertaining and memorable, THEATRE OF BLOOD is ripe camp, an excellent film, and a lasting tribute to the career of one of the most important actors in the genre.

The Mack is lacking in narrative drive and logic, but offers an entertainingly exploitative portrait of a self-made gangster.

Although one of his earliest films, SISTERS still stands as director Brian De Palma's greatest contribution to the horror genre.

Those who lived through the 1960s will enjoy this more than those who haven't, but in the final analysis, Godspell is generally a disappointing film version of a small musical that rocked audiences with its fervor.

Romero paints a bleak picture of a bureaucracy that has nothing but contempt for the lives of private citizens, zealously harbors secrets, and gives unbelievable power to a basically incompetent military.

While it may not be Chandler, it is a moody and entertaining film.

The voices of Reynolds, Lynde, Gibson, and all the rest are perfectly cast, and the songs by the Sherman brothers are solid, although none of them became hits like those they wrote for such Disney movies as Mary Poppins.

Baker stars as real-life Tennessee sheriff Buford Pusser, whose one-man battle against gambling, moonshine whiskey, and prostitution in his county elevated him to folk-hero stature in three movies.

Released at a time when the western was undergoing some radical changes thanks to films by Sergio Leone and Sam Peckinpah, The Train Robbers harkens back to the old style westerns Wayne helped make famous. What's lacking is substance and style.

Shattering social and sexual conventions, Last Tango in Paris stands as one of Bernardo Bertolucci's finer achievements.

Vile exploitation picture shot cheaply in the Philippines.

Although engagingly played, the film cannot find a voice or climax.

A rambling revisionist western whose episodic nature was only marginally successful and which didn't come close to BUTCH CASSIDY AND THE SUNDANCE KID on any level.

This violent film, typical of Peckinpah's slam-bang action movies, relentlessly depicts ruthless robbery and murder, not to mention adultery, kidnaping, bribery, extortion, and general mayhem. The vivid direction and lightning pace, however, make the film completely fascinating.