This is an extremely faithful film adaptation of Ira Levin's gimmicky stage play.

A musical boudoir farce, captivating at times, infuriating at others.

Though Costa-Gavras clearly has a political axe to grind, he manages to do so without haranguing the viewer, keeping the film's focus on his characters and masterfully building tension as the story moves toward its stinging resolution.

Diner is an often hilarious, frequently touching film.

Though director Guy Hamilton has tried to make the Christie formula more cinematic by trimming the number of characters and streamlining the plot, the picture is still rather uninteresting. Only the performances, the lovely location, and some Cole Porter tunes make it worth watching.

Not much happens, but the the filmmakers' knowing, stylized eroticization of biker culture is extraordinary.

The language is filthy, the film is simpleminded, and Bronson's character is as despicable as those he murders. Death Wish II wades in gore and violence, exploiting hatred, fear, and mass murder.

Although SWAMP THING was definitely aimed at a different audience than THE HILLS HAVE EYES, Craven fails to capture the gothic quality of its comic book inspiration--which had some genuinely frightening and grotesque moments. Instead, the whole thing is merely silly and not much fun.

Finney and Keaton each have their heavy dramatic moments, but there is nothing in writer Bo Goldman's script that hasn't been seen and heard in a thousand other films.

A beautifully filmed, nicely philosophic and rather old-fashioned western with an elegiac tone, well directed by Australian director Fred Schepisi (Breaker Morant), Barbarosa features uniformly strong acting, with Busey and Nelson making a good team.

Although occasionally bleak, the film affords many pleasurable moments, showing early man learning to laugh and expressing delight and amazement at the sight of fire.

Despite fine performances from its lead actors, The Border fails to involve the viewer at more than a perfunctory level.

Nick Nolte gives one of his finest performances in this somewhat mannered but absorbing adaptation of John Steinbeck's novels Cannery Row and Sweet Thursday.

Written by Tom Holland, who would go on to write and direct FRIGHT NIGHT and CHILD'S PLAY, the script does a nice job of translating the awkwardness of adolescence into a horrifying event.

Racing through the sub, squeezing through tiny openings, director Wolfgang Petersen's camera brilliantly evokes the claustrophobia and clamor of undersea battle.

PERSONAL BEST offers a detailed, believable insider's portrait of the world of track and field. This very different sports film isn't for everyone, but patient viewers should find many small pleasures in it.

Director William Asher, whose previous credits include various episodes of I Love Lucy and several beach party movies--most notably, BEACH BLANKET BINGO and HOW TO STUFF A WILD BIKINI--keeps the action rolling at a brisk pace, while Tyrrell turns in one of her best performances as the psychopathic aunt.

The only thing that differentiates this weak offering from a made-for-television feature are Fairchild's nude scenes, which are gratuitously worked in and add nothing to the story.

Not for everyone, but those who respond to it will find it unforgettable.

The film's chief attribute, however, is also one of its major flaws. In presenting an up-close, personal look at the lives of its famous figures--particularly Reed and Bryant in their love affair and marriage--the film sometimes gives short shrift to the world-shaking events that are its unique subject. Nonetheless, the brilliantly designed and photographed REDS is a beautiful, passionate film, both in its stunningly recreated action scenes and its quietest moments.

The humor is forced.

Sydney Pollack's film is a solid, absorbing drama that, in profiling the damage that can result from investigative reporting, presents a counterpoint to All The President's Men.

Avildsen, however, is hardly a comedy director. Best known for his Oscar-winning ROCKY, he shows little sense of comic set-up and delivery. The result peters out about halfway through the film, with only touches of bizarre flavor in the rest. A ridiculous, cartoonlike score by Conti doesn't help much.

Pakula again uses big-name stars to deliver a political message. This time around Fonda and Kristofferson are involved in the world of high finance that teeters on the brink of disaster when Arab countries threaten to pull their money from US banks instead of letting it "roll over."

A beautifully photographed movie filled with poignancy, humor, and (of course) some superb acting.

This direct rip-off of The Hills Have Eyes has nothing going for it.

Ambitious, but only sporadically engaging.

Suspenseful throughout most of its running time and exceedingly well shot, ROAD GAMES collapses at the end. The confrontation between Keach and the killer is a let-down. Although director Franklin has definitely studied his Hitchcock (he would go on to direct PSYCHO II), his film lacks the psychological depth of the master's work. Keach, however, is very engaging as the eccentric hero.