One of many musical stinkers made during a decade infamous for them, FINIAN'S RAINBOW is sadly notable as the last screen musical of the genre's greatest star.

It's a visually stunning adaptation with much action, broad humor, and eroticism.

The Connery-Bardot pairing that Shalako offers simply can't pump much life into this otherwise typical big-budget western set in 19th-century New Mexico.

Despite mostly unprofessional acting, near nonexistent production values, homemade special effects, and cheap grainy black-and-white film stock, the film is a triumph.

The very sentimental Charly has not dated well, but still remains intriguing for its premise and for Cliff Robertson's Oscar-winning performance.

The oddly cast Sharif is better than usual, but Streisand, of course, is most of the show, belting out songs, pulling heartstrings, alternating between raucous slapstick and dramatic power, and generally demonstrating that she has arrived in a big way.

This is the ultimate student film.... The film is a creative, ultra-low-budget effort with a good sense of place and character. Scorsese presents a detailed look at the lives of these confused boys struggling to become men in an oppressive environment.

It could have been a drab, weepy story, but Stern and Newman collaborated to make it an inspiring one that proves one is never too old to change one's life.

Though the material is nothing special and relies on the avenging angel mystique that had been established for Eastwood in the Leone films, director Post squeezes out some fine and memorable moments in the film

Talented though he is, Arkin cannot fill Sellers' shoes, especially when hampered by a script which relies on cheap laughs and lots of accidental death, and Yorkin's pedestrian direction.

An impressive first feature from Melvin Van Peebles has a black American soldier, Baird, stationed in France and visiting Paris on a three-day pass.

A very expensive caper picture that drowns in its own artiness, using multi-images, cinematic tricks, and other pretentious film gimmicks--all of which detract from the story.

It's all as campy as can be and a great time waster.

Truly frightening because so much of it is so plausible, ROSEMARY'S BABY is one of the finest examples of modern horror, a milestone in the evolution of the genre. Although the subject matter is ultimately supernatural, the treatment is very realistic.

Elvis Presley again plays a successful racer in this, his 27th film.

The dialogue flows a little too thickly in an awkward attempt to find a parallel with the then-raging Vietnam War; Hale, a TV veteran, directs loosely, but the few action scenes he does permit are snappy and scary.

The good news is that, as sitcom-style theater goes, The Odd Couple is often highly amusing, with Lemmon and Matthau ideally cast as prissy neatnik and unmitigated slob.

The script quickly runs out of gas thanks to the one-joke story line and Blake's uninspired direction.

PLANET OF THE APES is a success on many levels, with a witty, intelligent script by Rod Serling and a suitably hot-tempered, athletic performance from Charlton Heston. Roddy McDowall and Kim Hunter are highly effective as a sympathetic ape scientist and doctor, respectively, with John Chambers's superb latex makeup allowing them a full range of expressive facial gestures.

A beautiful, confounding picture that had half the audience cheering and the other half snoring. Kubrick clearly means to say something about the dehumanizing effects of technology, but exactly what is hard to say.

Mel Brooks's first and funniest, a spoof of Broadway theater that has earned a deservedly devoted cult following.

It's all good fun, and Ustinov is very amusing as Blackbeard.

There are only short bursts of action in between nearly endless talk in the Clements script. Despite a huge cast of very competent actors the film misses the mark.

A massive, many-faceted film that continues to hold up, viewing after viewing.

A genuine oddity, the film is exceedingly well shot by cinematographer Alfred Taylor and has a creepy PSYCHO-like feel about it as well as some nightmarish surrealism.

The Graduate is a flawlessly acted and produced film. [Review of re-release]

Will put the kids to sleep, but may kill you.

Pure trash, based on a trashy book, filled to the brim with trashy performances, now becoming a trashy cult film.