A triumph of style over substance.

An all-star, all-stupid comedy attempt that proves, once again, no actor can triumph over bad material.

An entertaining and well-crafted political satire that is definitely worth a look.

A totally inane script designed to cash in on the rollerboogie craze.

All That Jazz is great-looking but not easy to watch; Fosse's indulgent vision at times approaches sour self-loathing, and nothing like the explicit open-heart surgery had been seen on mainstream American screens, let alone the morbid song-and-dance routines in an operating theater.

Kramer vs. Kramer is, essentially, a television movie that was raised into the feature category by the excellence of the execution.

Jerzy Kosinski's modern fable gets a terrific translation to the screen due to his tight screenplay, capable direction by Ashby, and a marvelous performance by Sellers, one unlike any other in his career.

While far from a bad film, The Human Factor fails to convey the desperation and stagnation felt by the Williamson character.

1941 is loaded with slam-bang sight gags and action, but comedy isn't director Steven Spielberg's forte and the movie isn't nearly as funny as it might have been.

The title truly lives up to the character.

Unfortunately, director Robert Wise has no feeling for Trek's pop insouciance, and the movie unfolds ponderously.

Bette Midler turns in a magnificent performance as a dissipated, Janis Joplin-like rock singer.

THE FISH THAT SAVED PITTSBURGH is about as entertaining and memorable as a sports celebrity Miller Lite commercial.

The first part of this film is an exceedingly taut little chiller that stands on its own, and in fact was once a short film entitled The Sitter. Director Fred Walton decided to expand the clever premise into a feature and, unfortunately, that is where the film begins to fall apart.

Though its emotions are big, the performances are so nicely nuanced that sentiment never overwhelms the story's emotional realism.

Very modest, but surprisingly sweet. The naive escapades of a group of American students studying in France for a year is given a charming, somewhat corny treatment by the authors of AMERICAN GRAFFITI--Huyck (who also directed) and Katz.

No character development, ridiculous situations, and a miserably written script attempting to indict corrupt legal and judicial systems add up to a tiresome and pointless film where Pacino is wasted as a witness to a parade of lunatics.

An $18 million, star-studded disaster film, which in itself is a major disaster.

Director Imamura effectively portrays some of the more negative aspects of the forces that have shaped modern Japanese people. In this manner the picture resembles his chilling films of teenage wanderlust made in the 1950s.

This touching and beautifully photographed, if slightly overlong, tale of a boy and his horse follows the escapades of young Alec Ramsey (Reno), who is traveling across the ocean with his father.

A funny if somewhat retrograde film.

While all of the acting is top-notch, Reynolds steals the show with his underplaying and understanding of the role.

Held together by the sheer power of Klaus Kinski's performance as the vampire, Nosferatu, the Vampyre evokes several scenes (practically shot-for-shot) from the Murnau classic while slightly altering some of the original's thematic structures.

Meyer makes a fine directorial debut, pacing the film for optimal suspense despite some obvious holes in the script.

This movie has pretensions to mediocrity, a goal far too high for it to reach.

Good acting and careful direction by Becker make it worth seeing, but the violence and the language may be too graphic for some tastes.

Well-made but often-boring.

Dry, dull, and terribly predictable.