A sluggishly directed look at life and death in the 21st century.

Bogdanovich's warmest film, featuring charming performances from real-life father and daughter Ryan and Tatum O'Neal.

If you're looking for nonstop, no-holds-barred exploitation, look no further. Pam Grier's first solo starring role is an enormously entertaining black action classic.

This somewhat haphazard affair combines witchcraft, feminism, and suburban angst into a creepy whole that is fascinating but not quite successful.

Wholly entertaining and memorable, THEATRE OF BLOOD is ripe camp, an excellent film, and a lasting tribute to the career of one of the most important actors in the genre.

The Mack is lacking in narrative drive and logic, but offers an entertainingly exploitative portrait of a self-made gangster.

Although one of his earliest films, SISTERS still stands as director Brian De Palma's greatest contribution to the horror genre.

Those who lived through the 1960s will enjoy this more than those who haven't, but in the final analysis, Godspell is generally a disappointing film version of a small musical that rocked audiences with its fervor.

Romero paints a bleak picture of a bureaucracy that has nothing but contempt for the lives of private citizens, zealously harbors secrets, and gives unbelievable power to a basically incompetent military.

While it may not be Chandler, it is a moody and entertaining film.

The voices of Reynolds, Lynde, Gibson, and all the rest are perfectly cast, and the songs by the Sherman brothers are solid, although none of them became hits like those they wrote for such Disney movies as Mary Poppins.

Baker stars as real-life Tennessee sheriff Buford Pusser, whose one-man battle against gambling, moonshine whiskey, and prostitution in his county elevated him to folk-hero stature in three movies.

Released at a time when the western was undergoing some radical changes thanks to films by Sergio Leone and Sam Peckinpah, The Train Robbers harkens back to the old style westerns Wayne helped make famous. What's lacking is substance and style.

Shattering social and sexual conventions, Last Tango in Paris stands as one of Bernardo Bertolucci's finer achievements.

Vile exploitation picture shot cheaply in the Philippines.

Although engagingly played, the film cannot find a voice or climax.

A rambling revisionist western whose episodic nature was only marginally successful and which didn't come close to BUTCH CASSIDY AND THE SUNDANCE KID on any level.

This violent film, typical of Peckinpah's slam-bang action movies, relentlessly depicts ruthless robbery and murder, not to mention adultery, kidnaping, bribery, extortion, and general mayhem. The vivid direction and lightning pace, however, make the film completely fascinating.

A well thought-out script and fine direction keep a steady amount of tension, which doesn't let up until the survivors are rescued.

Tati, who's brilliant at commenting on modernization, here again provides insights into modern life that make for one of the freshest and funniest pictures to hit the screen in years.

Though extremely violent, the film is surprisingly boring in spots.

Buoyed by a distinguished cast of horror veterans, Bloch's well-written script, and Baker's deft direction, Asylum is the most satisfying of the horror anthologies of the 1970s.

A brilliant surrealistic joke about a group of friends whose attempts to dine are continually thwarted.

The mind marvels at the bravery of the person who walked into the producer's office to pitch this idea.

An ugly, disturbing, passionately conceived cult favorite, Last House on the Left is much more complex (albeit crudely made) than its controversial reputation would suggest.

Sounder is one of the truest examples of a family film ever made and a triumph for all concerned.

Far from a perfect movie, or even Lee's best, but it shows that he may have developed into an original and talented filmmaker.

Where this film towers above the first one is in the music, written by Disney stalwarts Richard M. and Robert B. Sherman.