Although it definitely falls short of The Deer Hunter or Apocalypse Now, the film is not without interest.

The film's outstanding beauty is not enough to compensate its slim story, which remains preoccupied with the duellists' insane obsession with military codes of conduct and personal honor.

COMA wastes a superb performance by Bujold on a simplistic, predictable series of cliched suspense scenes, seasoned with some last-minute moralizing about contemporary medicine.

Another of Cassavetes' puzzling, personal, neurotic, and often brilliant productions that would have benefited from editing with a scythe.

The film features a great cast and is adapted from a funny and moving book by Joseph Wambaugh, but the result is an abysmal, disjointed mess.

The violence is bloody, nonstop, and as pointless as the script.

The story here is really secondary to character and milieu, as director John Badham and his actors create a convincing portrait of frustrated 1970s working-class youth and the escape offered by the swirling lights and pulsing rhythms of the disco.

Fairly lackluster Disney effort is saved by Niven's great performance.

A rarity for Neil Simon's screen efforts, The Goodbye Girl perfectly blends humor, sentiment, and romance on a level so pleasant it's almost suspicious.

Semi-Tough is periodically funny and frequently on target in its satire, and it boasts a strong performance from Reynolds.

The Turning Point features a few laughs, lots of maudlin moments, superior dancing from a host of real ballerinas, and an occasionally perceptive script.

The screenplay relies heavily on movieland cliches about the mentally ill being saner than the rest of us, while Kagan's direction is unimaginative and made-for-TVish. Still, appealing performances by Winkler, Field, and Ford nearly compensate for the lack of inspiration behind the camera.

Steven Spielberg proves decisively that a special effects-dependent film need not be cold, mechanistic, or simpleminded.

Like a delicious pasta salad, ruined with intermittent slabs of Velveeta cheese.

The film lacks the emotional complexity and classic status of previous Disney films.

The film lacks any suspense or drama, and the special effects are not that special.

Brooks, hardly a great director, doesn't quite pull off this adaptation of the Rossner novel.

While Rolling Thunder suffers from Schrader's predictable obsessions with masculine ritual and gunplay, Devane and Jones enhance the material with their nuanced, sensitive portrayals of men who have lost their souls in another land.

Reiner does one of his best directing jobs and never resorts to some of the silliness he's demonstrated in other films. Denver is very affable and could have had a good movie career given the right material.

The script, the direction and finally, Fonda's acting choices capture nothing of what made Hellman a true piss-and-vinegar original.

This gorgeously shot film is a trifle long at just over two hours; much of the racing footage could have been dispensed with, along with the sudsiest of the emotions.

Dennis Hopper and Bruno Ganz are superb in Wim Wenders's The American Friend, a gripping Hitchockian thriller based on a novel by Patricia Highsmith.

The animation is no better than competent, but the film has a nice bluegrass-style musical score by Ed Bogas and should be fine for the kids and "Peanuts" fans.

The original ad campaign boasted that the only thing more terrifying than the last five minutes of SUSPIRIA were the first 90. Actually, it's the first 15 minutes that contain some of the most frightening footage ever committed to celluloid, but why quibble.

A disturbing, wonderfully acted, well-scripted, and suspenseful study of a murderous 13-year-old girl.

Depending on one's mood, or level of sobriety, it can be a hysterical picture that pokes good natured fun at American movies, TV and commercials.

As the Bond series moves deeper into the 1970s, the emphasis moves away from the inventive scripts that made the best Sean Connery films fine examples of the spy genre and toward the kind of feats of daring and visual spectacle that abound in The Spy Who Loved Me.

Though not particularly bloody, The Hills Have Eyes is an extremely intense and disturbing film. As is the case with Sam Peckinpah's classic, Straw Dogs, it becomes oddly and distressingly exhilarating to watch the nice family become increasingly savage in their efforts to survive.