One of the most original, visually stunning, and provocative films of the 1970s, Walkabout is timeless in its beauty and unique approach to a classic coming-of-age story. The film is arguably director Nicolas Roeg's finest achievement.

Adapted (with some changes) by Roald Dahl from his famous children's book, Charlie and the Chocolate Factory, Willy Wonka creates a marvelous world as close to heaven as any kid can imagine and never talks down to its young audience. The film is sometimes dark in its tone but by the end (when Wonka's motives and true nature are revealed) it is fabulously uplifting.

This light-hearted fun is made to work thanks to the performances of a well-chosen cast, though the overall pacing drags and the editing is rough.

An uneven but unusually thoughtful melodrama, Carnal Knowledge avoids most of the the trendy excesses that make some other films of its era so difficult to watch today.

One of the best things the highly variable Jane Fonda has ever done.

A grim and dirty slice of bleak frontier life rendered with extraordinary beauty.

Racing fans should love Le Mans' dazzling documentary-like photography, including actual footage from the 1969 and 1970 races, but those who are more interested in an involving story may be disappointed.

A good example of the now-neglected caper genre.

This film was a feeble attempt by Hammer to bring some freshness to its series of Frankenstein films by introducing black humor. The jokes are told in such a straightforward, dry manner, however, that you're never sure whether they're supposed to be taken seriously. 

There are some genuinely chilling scenes, but it is still a made-for-TV-ish ROSEMARY'S BABY rip-off.

A strange movie that doesn't seem to know what it wants to be. Sentimental, biting, satirical, whimsical, and self-righteous, it begins with a romp at high speed, then goes straight into a hole from which it never emerges.

O'Hara looks like she's just doing Wayne a favor, and Pat Wayne and singer Vinton just don't have much screen presence. These weaknesses plus a mediocre script add up to a very weak Wayne outing.

Former actor Don Taylor directs smoothly and efficiently and elicits fine performances from the cast, highlighted by the warm relationship between Zira, (a touching Kim Hunter) and Cornelius, knowingly played by Roddy McDowall, who returns in the role after being replaced in the first sequel because he was directing a movie (TAM-LIN) at the time.

The film's standout moments include a photographer's (Vittorio Congia) death in front of a moving train; a car chase the streets of Rome; a sequence involving poisoned milk (a clear tip of the black leather gloves to Alfred Hitchcock's 1941 Suspician); and a final rooftop battle between Giordani and the elusive killer. Morricone's music fits tightly into this sophomore suspenser by Italian giallo specialist Dario Argento.

Some good gags and expert comedy performances.

The material played upon all the best aspects of the socially conscious movements of the 1960s, and then perverted them by preaching that violence is indeed the solution to problems as long as it's for the right cause.

Although some of the humor falls flat in this Allen comedy, his satire of revolutions and revolutionaries is perpetually topical.

A landmark in Black filmmaking in the U.S., this angry, extravagant, loud, belligerent movie reaches a high pitch early on and stays there.

People who actually recall 1942 will more greatly appreciate the waves of nostalgia that bathe this affectionate coming-of-age drama, set on a tiny island off New England.

Skillfully written by Bloch and boasting an excellent cast, this omnibus is a bit better than most and was the feature debut of television director Peter Duffell.

It's funny when it shouldn't be, sentimental to a fault and has one of the goriest scenes ever shot.

Grim, violent, and stylishly directed, Get Carter is an interesting film that brings some freshness to British crime cinema.

This is a very funny satire of television.

A fairly interesting, but somewhat muddled, road movie starring Newman as an ex-cop who now drives cars from Denver to San Francisco for a living.

An intriguing, suspenseful story is somewhat hampered by a dull cast.

Good direction and fine performances keep the pace of this lengthy film moving and prevent the material's descent into maudlin sentimentality.

One of the most cynical and bitterly funny westerns ever made.

An enjoyable mix of fine animation, catchy songs, and outstanding voice characterizations.