The plot is simple and the Italian performances verge on the operatic, but Leone revitalizes the Western through a unique and complex visual style. The film is full of brilliant spatial relationships (extreme close-ups in the foreground, with detailed compositions visible in the background) combined with Ennio Morricone's vastly creative musical score full of grunts, wails, groans, and bizarre-sounding instruments. Aural and visual elements together give a wholly original perspective on the West and its myths.

GAMBIT was a slightly-veiled copy of TOPKAPI and RIFIFI, down to the elaborate planning sequence in both films. The major difference is that this picture had some very funny dialog. A delight to the eye and ear.

Frankenheimer pulls out all the stops to lend excitement to the racing footage--splitting the screen into ever smaller increments, mounting cameras to the cars to get shots taken inches above the track, and using slow motion--but ultimately his obsession with technique becomes wearying, and the plot is simply not interesting enough to stand on its own.

An engrossing study of imagery and one's perception of the image.

Director Zinnemann never allows his primarily stage-trained actors to indulge in theatrical over-emoting. This absorbing film features inventive camerawork and superior production values.

Unlike the work of either Jean-Luc Godard or Richard Lester (both obvious influences on Coppola at this point in his career), YOU'RE A BIG BOY NOW fails to have much impact beyond its lightheartedness. It is as if Coppola were too concerned with creating a style to put much effort into the implications of his material.

Violent tale of a man who comes into a town run by rival gangs--this time it's the Ku Klux Klan and Mexican bandits.

Neat little chiller with Polanski honing his abilities as a director and standout performances from Pleasence, Stander, and Dorleac.

What's Up Tiger Lily? is cleverly devised, hinging on a well-developed sense of the absurd. Allen and his cohorts make good use of the source movie's situations, turning its obvious cliches into some wonderful parodic gems.

A truly adventuresome, action-filled film that is played more for thrills than for conveying a story, The Professionals offers a field day for Lancaster, Ryan, Marvin, and Strode.

Despite some minor flaws, The Fortune Cookie is a very satisfying film.

The film features a surprisingly good performance by Rock Hudson, an impeccable supporting cast and stunning cinematography by screen veteran James Wong Howe.

Jean-Luc Godard visited the world of young folk to create his most humane film. (Review of Original Release)

This great film, made with uncompromising honesty and devastating reality, is, according to Jean-Luc Godard, "the world in an hour and a half."

Director Furie's stylistic method of dwelling on certain scenes, a penchant for close-ups so large and exasperating as to blot out the screen and confuse the vision, worked effectively in his Ipcress File, but here his shots of teeth, guns, horses' eyes, Brando's jowls, and Comer's brow are merely specious, distracting, and as amateurish as a TV director shooting into the sun for reflection or allowing water on the camera lens to remind the viewer that technicians are present.

The film was directed and scripted by Douglas Heyes, who was smart enough to know he couldn't improve on William Wellman's 1939 version, so he made some changes in plot and emphasis, and put a great deal of care into the casting of secondary roles.

Their voyage through the body's bloodstream past assorted organs was created by inventive special effects that make this one of the more visually interesting science fiction films of its era.

ALFIE is a surprisingly successful exercise in dramatic irony: the title character, a charming mediocrity who fancies himself a ladykiller, delivers a running commentary on his tawdry sexual conquests and penny-ante criminal ambitions, cheerfully oblivious to an audience that knows more about him than he will ever know himself.

Shot in the same campy style that characterized the TV show, all the cast members look like they are having a great time chewing up the scenery. Meredith as the Penguin and Gorshin as the Riddler are the villainous standouts.

Putting Julie Andrews in a Hitchcock film at all, meanwhile, proves that a spoonful of sugar doesn't help the medicine go down...in the most de-light-ful way. Dull and way too long.

Director Kershner demonstrates fine visual talents in his use of New York locations.

Strong stuff, intensely watchable, but definitely not for children.

Only those who find the subject matter utterly disinteresting will be turned off by Brown's devoted, almost fanatical, approach. Otherwise, the film has a low-budget charm that won it many admirers in and out of the surfing community.

This hysterically funny parody of Cold War tensions sees a Russian submarine get stuck in a sandbar off the coast of New England after its commander, Bikel, ventures too close to shore in order to get a good look at America.

Ridiculous detective Randall stops a sadistic killer from working his way through an alphabetical victim list. Agatha Christie and her legendary detective, Poirot, get a not-at-all serious treatment in this unbelievably unfunny comic mystery.

It's all mindless, absurdly complex and hopelessly hip in that 1960s sort of way, but an agreeable way to pass the time with gorgeous Sophia.

MacDonald's novel--his first solo screenwriting credit--is full of rapid-fire dialogue but some of the characterizations are thin. Despite all the big names involved, Harper doesn't begin to approach the big leagues of hard-boiled detective films. Nonetheless, Newman gives a convincing performance.

The Singing Nun was created in the style of MGM's popular family musicals of the 1940s, loaded with gloss and sugary sentimentality. The direction shamelessly panders to these elements, resulting in sluggish development.