The film is filled with sight gags and features a wonderful performance by Harris.

It remains notable primarily as a record of pre-Hollywood Arnold Schwarzenegger.

Despite the intriguing premise, Pierce is a stupifyingly unimaginative director, and the film is incredibly dull.

Improbable as are all the Dirty Harry films, The Enforcer is crammed with action and spilling over with violence. The photography is fine, but the gore is as repugnant as Daly's overacting.

The huge cast seems to share in the sense of confusion, and what might have been an excellent treatment of an important story merely falls flat.

An attempt by director Bogdanovich to capture his great love of early movies in a full-length motion picture.

There is much to enjoy in this movie, but just as much to yawn over. One has the feeling that this was a play that was never produced on stage but went directly to the screen from the typewriter. Since so much of it is dialogue with very little cinematic action, it just feels stagebound.

The fourth remake of this story, this is a fairly good, though overlong, film.

Without a doubt, De Laurentiis' remake of Cooper and Schoedsack's classic is the biggest con job ever pulled on the unsuspecting American public.

Though at times the film relies a bit too much on slapstick humor, skilled director Robert Stevenson (working on his 19th Disney film) keeps the action from getting too out of hand

There are some marvelous sight gags, but the film goes over the top into mindless farce at times, destroying much of the Chaplinesque believability that Sellers had earlier engendered.

A moving, brilliantly photographed picture that portrays the legendary eccentric folksinger Woody Guthrie in a trip across Depression-era America.

As drenched in sentiment as it is in sweat, as much love story as fight film, this classic tale of a tireless "bum" who makes good is one of the most uplifting films ever made.

Silver Streak is a throwback to the screwball comedies of the 1930s but with none of the verve or the motivation needed to get an audience to swallow the shenanigans.

Fitzgerald's unfinished novel transfers awkwardly to the screen but is saved from oblivion by that always-fascinating actor De Niro, who essays the role of the movie mogul (based on MGM's Irving Thalberg).

The film has a strikingly unsettling mood that enhances its power and gives it an impact that the story would otherwise lack. Much of the credit, though, must go to Spacek, who so convincingly portrays Carrie's pain and her longing for acceptance.

There's an amazing display of acting talent, even though director Lumet doesn't quite tie all the strands together.

An excellent low-budget horror film from director Sole, whose impressive grasp of filmmaking technique and eye for the grotesque keeps the viewer on edge throughout the movie.

This mess is no fun until the sniper starts shooting--at least that livens things up a bit.

Performances from the two principals are as developed as the frequently convoluted script allows them to be.

The shadowy photography, great editing, snappy dialogue, and a moody synthesizer score by Carpenter himself make this one of the most successful homages to the Hawks brand of filmmaking--and a very impressive film in its own right.

Low-key comedy detailing a day in the life of an L.A. car wash, featuring an ensemble cast of superb performers.

Iconoclastic New York-based filmmaker Larry Cohen has always stood apart from the Hollywood crowd, inventing new subgenres of exploitation that are invariably bizarre, unpredictable, and clever, even when they don't quite work. The hugely entertaining God Told Me To, a supernatural psychological thriller that's almost horror, sort of science fiction, is among his very strongest works.

Die-hard fans will appreciate this rare glimpse of the great band at work, while mavens of unique musical instruments will delight in seeing Page "play" the seldom-used theramin (previously restricted to the Beach Boys's "Good Vibrations" and schlock horror movie soundtracks). Also, it's kind of fun watching the backstage hysterics of band manager Peter Grant, the man of legendary bad temper who was the basis for Spinal Tap's manager, Ian Faith, in THIS IS SPINAL TAP (1984).

Overlong, talky, predictable, and dull, dull, dull.

A truly harrowing film, Marathon Man is a clever series of accidents that produce a nightmare thriller with an unrelenting attack on the viewer's nerves.

Slow, but ravishingly beautiful and charged with a real poignancy.

Incredibly inept and silly adaptation of Edgar Rice Burroughs' adventure yarn.