Face to Face is an extremely intense experience from start to finish, due in large part to Ullmann's performance as she powerfully expresses a range of emotions seldom seen in American films.

Mean little film that pretends to say something about rape but panders to the cheap exploitation values of bad thriller films.

Taken as a whole, Robin and Marian is a spotty picture that's sometimes satirical, a trifle pretentious, occasionally exciting.

Cassavetes' films can be annoying and enigmatic, but they are usually creative and interesting. Not so with this one.

An undeniably brilliant, nightmarish portrait of one man's personal hell.

Dog Day Afternoon benefits immeasurably from a cast and crew doing some of the finest work of their careers. One of the finest films of the 1970s.

Hustle is one of the few examples of true modern film noir. But director and screenwriter cannot resolve their different approaches. The script's humanistic, if depressing, angle gets battered by Aldrich's approach. An interesting mixed bag.

Lesser Peckinpah, but fascinating nonetheless.

With an actor only slightly more expressive than Ryan O'Neal in the lead, this sombre costume epic might have reached the level of tragedy; as it is, the film is langorous to a fault, but so visually delightful and keenly observed that its excesses demand forgiveness.

A delightful and memorable film.

Jarring and electrifying drama.

Adapted from an award-winning novella by science-fiction writer Harlan Ellison, A Boy And His Dog has won a cult following of its own for its offbeat, sardonic look into the future.

Unfortunately, the script leaves something to be desired--namely, dramatic impetus. Yet Hard Times is still an enjoyable film, and the depression-era settings are painstakingly captured.

Perhaps the movie's value, or lack of it, lies not in the input of the Beales, the Maysles, et al., but in the degree of seriousness audiences bring to the theater. Some viewers will be shocked, some will be touched, but, unfortunately, the spectators this sad story is most likely to attract, amuse, and vindicate are the sort whose obsession with the upper crust, especially its blue-blooded stratum, is fed by envy and spite--each an unhealthy attribute on its own, but poisonous in combination with the other.

One of the most inventive and invigorating nonfiction features ever made.

The film itself is a lot of fun--but the audience-participation phenomenon has turned it into a one-of-a-kind cinematic experience.

A thrilling pseudo-expose on the corrupt inner workings of covert organizations.

Woody Allen's hilarious satire of classic Russian literature, might properly be described as Tolstoy meets the Marx Bros., as he and Diane Keaton get caught up in an uproariously funny plot to assassinate Napoleon in 1812.

The special effects are unrealistic, as are the dialog and performances. However, despite everything, the picture still makes for great fun.

An affectionate adaptation of Raymond Chandler's novel that beautifully evokes the seamy side of 1940s Los Angeles via superb production design and the same period atmosphere cinematographer Alonzo previously evoked for Chinatown.

A slick, stylish sequel to Harper (1966), this private-eye film has Newman reprising the role of Ross MacDonald's cool gumshoe, Lew Harper.

A rather pleasant period comedy that made quite a sum of money for the studio in its economically weak post-Walt period. A delightful cast of character actors helps the childish story, with Conway and Knotts beginning what would become a somewhat famous, but very simple-minded, film comedy duo.

Uniformly dull and predictable, save for the sight of Borgnine turning into a goat-headed demon--not much of a stretch, perhaps--and Travolta (in a small role) melting along with the rest of the cast.

Fairly effective action-horror film.

It has heart and warmth in the American Graffiti vein, with everything carried out top-notch in a sociological study of black youths.

The performances of Caan and Richardson are excellent, and the rollerball sequences are fast-paced and interesting.

It offers some excellent performances, crisp direction, and overall professionalism of the entire cast and crew. What keeps it from being a great western (like FORT APACHE or HIGH NOON) is that the audience is seldom involved in the lives of the riders other than in a peripheral sense.

From the outrageously frightening opening--in which a beautiful young woman skinny-dipping in the moonlight is devoured by the unseen shark--to the claustrophobic climax aboard Quint's fishing boat, Spielberg has us in his grip and rarely lets go.