All technical credits are first rate, but Friedkin doesn't draw enough on his substantial cinematic talent.

Director Meir Zarchi may have been trying to make a point about the horrors of rape, brutality, revenge, and reprisal, but he simply isn't a good enough director to extract any relevance or nuance from his exploitative material. Watch Wes Craven's Last House On The Left instead.

The bitter-sweet story of young lovers caught up in an political struggle waged by farmers against the grain trade, the banks and the railroads, NORTHERN LIGHTS brings back a forgotten era of American history and evokes the austere beauty of the Northern Plains.

Animator Ralph Bakshi's adaptation of J.R.R. Tolkien's "Lord Of The Rings"trilogy is an entertaining film, but in attempting to remain faithful to the source material, Bakshi tries to cover too much ground.

Aside from the obligatory shots of the dummy looking sinister, director Attenborough fails to evoke an effectively eerie mood, concentrating instead on the "drama" between Hopkins and Ann-Margaret.

The spirit of the book is captured here as the rabbits, faced with problems of ecology, are forced to find a new home. Their trek is filled with surprises and adventures, as well as bloodshed. The job of personifying the rabbits is nicely achieved due to expert readings by the cast.

There's nary a drop of blood on screen in this rollicking funhouse of a movie but there is enough sheer cinematic ingenuity on display to coax screams out of the most jaded gorehound.

Sidney Lumet's overblown direction strips the story of its magic, Ross is too old for the part and never quite captures Dorothy's innocence, and Pryor is wasted in a film ill-suited to his talents.

Attack of the Killer Tomatoes employs calculatedly bad acting, ridiculous special effects, and inane dialog. Though it succeeded to some degree in achieving its goal, it's a thoroughly dull, unfunny effort.

The film is compelling, albeit pretty silly in its elaborate "what if?" plot.

Although the premise of Goin' South is clever, the story is unbelievable and, under Nicholson's first grip as a director, is unwieldy and directionless. The tale is presented in disjointed, confusing, poorly set sequences. Nicholson the actor is mildly amusing, as are some of his riotous gang members, DeVito and Belushi (the latter appearing only briefly, irrespective of his high billing). But the whole film deteriorates midway into amateurish mugging and slapstick.

Riveting from the word go. The acting is superb, the direction is excellent, and Moroder's score is exhilarating.

It's not a brisk 201 minutes but it is engrossing and rewarding, a painstakingly realistic account (oozing verisimiltude out of every frame, and there are a lot of frames) of three days in the life of the female protagonist of the title, portrayed by Delphine Seyrig.

Dull, humorless, and thankfully, the last of the Dracula films produced by Hammer.

Running a substantial 140 minutes, the film does, at the very least, give fans a chance to see many of their favorite players hamming it up.

An ambitious and sometimes-incisive look at the inner workings of an Italian-American family.

Stallone creates a thoroughly enjoyable character, constantly hustling and delivering a nonstop stream of chatter, showing the kind of engaging work he was capable of early in his career.

This movie is a reedited version of the television series, with the addition of Sensurround. Just as bad as the failed series. Lorne Greene should never have sold the Ponderosa.

The funniest of all the Cheech and Chong movies, UP IN SMOKE provides a feast of gags for the sympathetically minded.

Director Malick endows this simple, timeless story with the enormous scope and resonance of myth through a clear vision unclouded by sentimentality and by a deft juxtaposition of image, music, and character.

The silliness of the whole concept is handled with a sly sense of humor by director Dante, with some tongue-in-cheek appearances by Keenan Wynn, Kevin McCarthy, Paul Bartel, Barbara Steele, and Dick Miller adding to the fun.

Parts of the film are nasty enough to grip the audience, but a large portion is muddled and sometimes laughably pretentious.

A gripping action film that also illustrates the bitter disillusionment of Americans who witnessed the corruption, confusion, and moral chaos of the country's leadership during the Vietnam era.

Rude, rough, tasteless, but often hilarious.

Another mindless exercise in unexciting, unmotivated action sequences punctuated by moments of stupid, redneck, good-ol'-boy humor.

The sparse story of the struggle of the two men with their obsessions, and with each other, skillfully creates a mood that is hard to shake after the ending credits. The car chases are breathtaking.

Pathetic acting and a scattershot plot sink this pitiful attempt by producer Robert Stigwood to turn the landmark Beatles album Sgt. Pepper's Lonely Hearts Club Band into an engaging film.

The fifth picture of the Pink Panther series, this wasn't as good as most of the others. It's a bit too unfocused, and the scenes shift to locations all over the world, like a comic version of a James Bond movie, but a good cast led by Sellers, under Edwards' direction, still provides plenty of laughs.