The special effects are sub-Bert I. Gordon, but in color, turning THE PEOPLE THAT TIME FORGOT into the movie that people will forget.

Directed by the prolific but uneven African-American filmmaker Michael Schultz, this well-intentioned biography of the first black auto racing champion, Wendell Scott, features Richard Pryor in an early dramatic role.

Laughable exploitation film results in a complete waste of time and talent.

Friedkin's Sorcerer is just as gripping and spine-tingling an adventure film as The Wages of Fear and, at times, surpasses the original film with breathtaking photography and a superb use of sound (the scene on the bridge is truly amazing). The musical score by German electronic experimental band Tangerine Dream is brilliant and haunting. The eerie electronic music adds immeasurably to the overall effect of the film, complementing the exotic imagery perfectly.

McEveety can't match Stevenson's sense of comic timing and handling of slapstick humor, but he still manages to make HERBIE GOES TO MONTE CARLO an entertaining children's film.

The voices are all well suited to the characters, and the film is a delight for children as well as adults who appreciate good animation and brisk storytelling.

A visually fascinating rumination on the genre.

Most of the film consists of meetings between different factions and groups, all conducted according to ancient tribal customs.

The film will mostly be remembered for Bisset's wet T-shirt sequences.

Not as awful as its notorious reputation would indicate, but certainly not the neglected masterpiece its small cult of supporters has claimed, Boorman's gorgeously shot sequel to The Exorcist has isolated moments of breathtaking imagery, but its parts do not add up to a satisfying whole.

A thoroughly disappointing and overproduced picture, A Bridge Too Far is nevertheless technically impressive and its sheer scope may interest hardcore warmongers.

Outside of Fonda's minor role as an executive and Huston's equally small part as a newspaper reporter married to Winters, there isn't much to the ultraboring TENTACLES.

A great one for the kids.

As in LATE SPRING (1949), Ozu eschews formula standards of dramatic convention by omitting the actual scene of the wedding ceremony, choosing instead to focus on its planning and consequences. The result is poignant and moving, and if EQUINOX FLOWER is not one of Ozu's greatest films, it's still a gentle and touching late work from this master.

The stunts in Smokey are excellent but the comedy is numbing, and the acting is on a par with a junior high school production of Our Town. Even Gleason comes across badly, and that's a major feat. Adolph Coors and Sons must have been very happy to have a 97-minute commercial for their brew.

Star Wars brought back for a new generation many of the most attractive elements of studio-era moviemaking, and it did so in breathless anthology form. For some young filmgoers this film acted as a doorway to the glory of the movies.

CROSS OF IRON is anything but a standard WWII movie, especially compared to its mythicizing contemporaries. Shot superbly by cinematographer Coquillon, the film shows war as hideously brutal, inglorious, and insane.

An early and sometimes funny effort by director Demme but the hilarity of the subplots (especially the bigamous Napier) swallows the main storyline.

Although Eaten Alive is not so unusual or terrifying as Texas Chainsaw, Hooper does a fine job of building up the Southern-gothic atmosphere and continues his brilliant use of sound to enhance the sense of unease and suspense.

Good score, OK crash sequences, and lots of unintentional laughs are the only reasons to sit through this movie.

Generally regarded as Bronson's worst picture to date.

The simplicity of the seemingly impromptu story, set largely in Allen's beloved New York City, is part of Annie Hall's undeniable charm, along with Allen's flashbacks to childhood (with side-splitting Jonathan Munk as a young Woody) and constant asides to the camera, a device that sometimes has to carry the laughs.

Underrated science-fiction thriller about a superintelligent thinking machine, Proteus IV, designed by obsessive computer wizard Alex Harris (Fritz Weaver).

Although Rabid is full of interesting ideas, they are not particularly well developed or presented by Cronenberg's unfocused script.

Anyone with even a modicum of history awareness knows that Churchill was never kidnaped--which destroys much of the film's suspense. Director Sturges, however, is an excellent craftsman and, with the help of a very good cast, manages to make the proceedings entertaining.

Black Sunday benefits from its technical skill, drawn-out suspense and developed characterizations, though the film could have been even more effectively tight with a shorter running time.

Here we go again--it's time for a 747 to meet disaster once more with a host of colorful characters to worry about as they go down--and this time they go down 50 feet into the ocean.

The on-ice violence is hyperreal, the emotions believable, and the laughs plentiful in this slightly off-the-wall comedy.