Harsh, funny, grim, and, like all Bob Fosse's films, primarily concerned with the intersection of life and showbiz.

Elegant and stylish in the best Agatha Christie tradition--a thoroughly entertaining if poky whodunit.

Tough-minded, moving study of a working-class housewife's mental breakdown, enhanced by superb performances from Rowlands, in the title role, and Falk as her husband.

Awful disaster movie that combined the worst elements of soap opera with special effects (bad matte paintings and the ridiculous Sensurround)--featuring an all-star cast that should have stayed home and waited for a real earthquake.

A better rock'n'roll parody than The Rocky Horror Picture Show, and one of director Brian De Palma's more original efforts, Phantom of the Paradise combines elements of The Phantom of the Opera and the Faust legend into a fairly entertaining, but only sporadically successful, horror-musical comedy.

This film, with a whole new cast of miscasts, is even more mindless than its predecessor.

Much of the film is shot from a dog's-eye view, and this technique works perfectly. The human actors are okay but not as cool as the canine star, a veteran of TV's Petticoat Junction series.

An ancestor of director Wenders's 1984 film Paris, Texas.

It's Alive is a justifiably praised low-budget effort that delves into the dark side of American family life from a horror-movie perspective.

Ozu's depiction of marital difficulties is hardly depressing. Instead he employs his signature warmth, sensitivity, and humor to create a touching, thoughtful film.

Gleefully trashy BONNIE AND CLYDE ripoff, served up the Corman way.

One would think that director Saul Bass, whose credit sequences for such films as Hitchcock's PSYCHO are nearly as interesting as the films themselves, could pump some energy into this potentially interesting premise, but all he comes up with is an overly intellectual bore.

Deftly employing split-screen and slow-motion techniques, Aldrich makes the most of Tracy Keenan Wynn's incisive script, aided by fine cinematography and tight Oscar-nominated editing.

Harry and Tonto is a sweet, sentimental road movie that draws force and relevance from Carney's touching and subtle performance.

The Wicker Man is intelligent entertainment that takes its subject seriously without resorting to gratuitous effects to make a point. It remains a fine example of occult horror that remains with the viewer well past its conclusion.

Bring Me The Head Of Alfredo Garcia does have some sloppy photography, a few unintentionally humorous scenes, and an excess of Peckinpah's signature slow-motion violence, but it stands as one of Peckinpah's more daring films.

Brilliant performances by young, inexperienced actors help make this picture work.

A film such as this, which is essentially a series of comic vignettes without a plot, depends upon its performances, and both Gould and Segal are in top form, providing an example of impov at its best.

Amateurish, badly acted and shot on the cheap (many sequences don't even have sync sound), this cult item features a 40-minute car chase (almost half the film's running time) that's nothing short of breathtaking, particularly in light of the obvious budgetary constraints.

The violence is excessive and the plot predictable, although there is some style to director Winner's approach.

Competently made but highly contrived so as to evoke as many "aw's" as possible in an hour and a half, this movie is only for the extremely naive.

It's impossible not to get a nostalgic buzz as the hosts wander around the old sets and soundstages, while the anthology of clips creates a wonderful sense of popular culture during Hollywood's halcyon days.

A wonderfully brooding, suspenseful revisitation of the land of film noir, Chinatown is not only one of the greatest detective films, but one of the most perfectly constructed of all films.

This is one of the best political thrillers of the 1970s.

An aimless and unexciting science-fiction story about a computer scientist, Segal, who undergoes brain surgery and is transformed into a maniacal murderer.

Egregious kiddie slapstick, punctuated by shameless overacting.

An offbeat Italian western that has a sense of cocky fun about it.

A crisp, well-written cast caper movie sporting some stunning landscapes and a fine core of performances.