An empty reshaping of Grand Hotel, held together by disaster in the sky. Airport will be remembered as the trailblazer of the disaster epic, one of the most trivial genres in the history of motion pictures.

For some reason, producer Wisberg decided to revive the long dead Hercules craze, and luckily it didn't take.

Patton is a war movie of unusual depth and a landmark in screen biographies.

A brazen, irreverent, and wild satire that hits more often than it misses, THE MAGIC CHRISTIAN seeks to prove that people will do anything, absolutely anything, for money--if there's enough of it.

This well-done Hammer horror film features a thoughtful screenplay that finally injects some compassion and intelligence into the monster. One of director Fisher's best.

The acting is second to none: the two leads are frighteningly good in their psychotic roles and supporting characters are also well dileneated. But there are some technical problems with the film, notably too much shadow in the frame, several highly visible microphones and the choppy editing, which jumbles the story at times.

The film cannot compare with John Ford's masterpiece about coal miners, How Green Was My Valley. However, it does offer some memorable moments of quality and passion.

Clever camera setups, Altman's patented overlapping dialogue, wonderful sight gags and situations, and universally fine ensemble performances combine to make this one the most enjoyable war-themed films ever.

Meredith's narrative helped to keep the proceedings together but could not circumvent Rydell's ordinary direction and the silly script. McQueen could do a lot of things well, but comedy wasn't his forte.

Disney does it again in this delightful comedy.

Based on one of the best of Ian Fleming's Bond novels, On Her Majesty's Secret Service benefited from an extremely well-written script that finally revealed a bit more of Bond's character. Lazenby, however, had no previous acting experience, and his lackadaisical performance limits the whole production, yet it still manages to remain one of the more entertaining Bond films.

Loosely based on the true-life exploits of French spy Philippe de Vosjoli and the 1962 "Sapphire" scandals in which top French officials were uncovered as Soviet agents, the film has a sense of authenticity but fails to fire up as much suspense as most of Hitchcock's intrigues.

The movie was a misfire despite the presence of many of filmdom's best talents. Diamond's adaptation fails to provide any new wrinkles to the tired plot and Gene Saks's direction is only as good as the material he's been given.

It's an exercise in star turns, surrounded by elephantine blandness. The supporting cast look, and act, like refugees from Disney or Oral Roberts University, handpicked not to ruffle the star.

Film offers a combination of highly technical jargon and emotional suspense in a well-balanced effort. The technical effects are extremely realistic, making the impact of the film much more powerful.

A suitably glum yet cathartic film experience.

A chilling, manipulative rollercoaster ride.

The Undefeated adds up to nothing more than a weak imitation of many other westerns--paying little or no heed to such issues as originality.

Downhill Racer is fascinating viewing, even if the closest you've gotten to a ski slope is "Wide World of Sports."

Overall, rookie director Ross stumbles over the material, neither destroying nor enhancing the talents of O'Toole, Clark, and company.

Butch Cassidy's winking awareness of its own cinematic nature (from the opening "silent movie" train robbery to the famous closing freeze frame) and witty banter give the story a degree of charm and exuberance.

This stirring if slightly overlong saga of England's WWII defense of its homeland features a staggering, star-studded cast, who abet the film's docudrama style with excellent portrayals down the line, despite the restrictions of their roles.

Unlike many first-timers (especially during the indulgent late 60s), Pakula uses understatement, avoids cinematic tricks, and carefully guides young stars Minnelli (who was nominated for an Oscar) and Burton, who was making his screen debut after starring on Broadway for three years in the title role of "You're a Good Man, Charlie Brown."

Everyone does his or her own singing--a mistake, except in the case of Presnell. Eastwood talk-sings effectively, a la Rex Harrison, but Marvin sings so badly that his numbers are camp classics.

The dialog is wonderful, but at times director Mazursky sacrifices the human element of his story to indulgent camerawork.

Their scheme involves causing a major traffic jam in the middle of Turin, Italy, which allows them to steal gold ingots from an armored car. The gold is then stashed in a bus, and the predictable chase ensues.

This minor classic from the 60s time capsule is a self-conscious essay on the meaning of the media and the nature of political commitment.

The movie races all over the place in a hurry to illuminate the "little people" who live in quiet desperation. It's a bit too noisy for that, and yet there is enough about it to warrant attention.