Brynner is very good, his austere presence and unflinching intent making him seem indestructible.

Breezy is a small, personal film that allowed Eastwood to work with talented actors and experiment with directorial style. If he had chosen a more intelligent script, he could have produced a minor classic.

An inventive, well-animated, appropriately cast film.

Though some consider this one of Eugene O'Neill's finest plays, The Iceman Cometh does not translate well to the screen. No matter what Frankenheimer pulled from his bag of directorial tricks, the work remains stagey and talky on celluloid; even the majestic talent of March cannot turn it around.

An engrossing, if occasionally ludicrous, hit tearjerker with Pollack, Streisand, and Redford doing a good job of bringing Arthur Laurents' script to the screen.

A very well made caper film full of action and rich with character.

Bottoms is a Minnesota-bred law student who comes to Harvard and the lecture hall of Houseman, an instructor who seemingly takes great pleasure in puncturing his students' egos. Bottoms falls in love with Wagner. Essentially, this is a military school plot with a change of venue.

Director Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study.

Mean Streets is a brilliantly made film--terrifically acted, sharply photographed and crisply edited.

The intentionally artificial campiness of the story eventually becomes touching, as it's played out against the sound of The Platters singing Smoke Gets in Your Eyes and The Great Pretender.

THE MOTHER AND THE WHORE captures a sense of realism rare in any type of film, bringing us deep beneath the surface of the characters' exteriors.

One of the best baseball movies ever.

High Plains Drifter is a morality tale carved out of the harsh Western desert and directed with a panache that synthesized the styles of Sergio Leone and Don Siegel, two directors who had worked with Eastwood frequently. The result is one of the best Westerns of the 1970s.

Nobody shows much evidence of acting ability, and the script is full of holes. Nonstop action is what these films are about, and that's what you get here.

Yvonne Elliman is electrifying as Mary Magdalene, and Carl Anderson couldn't have been better as Judas; but Ted Neeley as Jesus is more whiny than heroic.

In a series of touching and telling vignettes, American Graffiti follows a memorable crew of small-town teenagers through one momentous night in 1962. Based on George Lucas' own teenage hot-rodding days in Modesto, California, the appeal of American Graffiti is in its fragmentary scenes; the nervous camera jumps from character to character to present a powerful collage of American youth on the brink of maturity and the complex experiences of the coming decade.

Generally regarded as the best of Reynolds good ol' boy films, with fine, sensitive performances by the leads and a wonderful supporting cast.

Fox is superb as the coldly impassionate killer, and Lonsdale is properly plodding yet magnificently analytical as the detective tracking him down. A taut, suspenseful, and fascinating political thriller.

Well written and subtly directed, The Last American Hero concentrates on the human elements of the story without becoming overly sentimental.

A fairly tame, fairly lame blaxploitation footnote, starring drop-dead gorgeous Tamara Dobson and her improbable wardrobe.

The moral message gets a bit too preachy at times, and the performances are somewhat wooden.

A lightness is maintained throughout, which leads one to believe the makers were not too concerned about taking their material seriously. The result is an unpretentious, sometimes funny, but not quite scary effort.

This eighth film in the Bond series marks the first appearance of Roger Moore as the superspy. Less macho than Sean Connery's Bond, Moore's fastidiously dressed 007 survives by his wits and injects more humor into the proceedings.

Yates's direction is grimly taut, and Monash's screenplay pulls no punches. A bit gruesome, but potent viewing nonetheless.

SCREAM, BLACULA, SCREAM benefits from a slicker presentation but the script is fairly unimaginative and fails to capitalize on the more intriguing aspects of the clash between voodoo religion and the vampire legend.

Director Milius is wholly unconcerned with portraying the criminals of the 1930s as they really were, mixing up facts and fiction in a tasteless stew of violence, blood, and human gore.

Episode number five of the APES series, is the last and least of the bunch, with a juvenile script and parsimonious production values more befitting the various APES merchandising tie-ins (including toys, comic books, and action figures) than the fourth sequel to one of the finest science-fiction films in history.

While director John Hough (Twins of Evil) does a fine job with the things-that-go-bump-in-the-night aspects of the material, he fails to breathe any life into Richard Matheson's woefully underdeveloped screenplay, which he adapted from his own novel.