As always, Lean's handling of the purely physical aspects of the material is spectacular, with the scenes of revolution, the harsh Russian winters, and Zhivago's trek across the steppes simply unforgettable.

The action is reasonably well-staged, but the film is overlong and occasionally draggy.

This moving story neatly avoids melodrama.

Silly, fun stuff, with a good supporting cast.

KING AND COUNTRY is a grim indictment of the arrogant, simple-minded mentality of the men who send their fellow citizens off to war.

An attempt to do for poker what The Hustler did for pool, The Cincinnati Kid succeeds on its own, but it might have been a classic with some more attention paid to the script and, perhaps, a little humor sandwiched in to relieve the suspense.

A truly compelling psychological suspense story from Otto Preminger.

An intense, if slightly overlong, drama. The film is well assembled, and the performances are all quite good, especially Connery and Hendry.

Shot on location in the Bahamas, Austria, and on Salisbury Plain, HELP!, the second Beatles film, is nonsensical fun.

Probably the most lighthearted and enjoyable of Meyer's films, Faster, Pussycat was embraced by a new generation during its art-house re-release in 1994; many viewers detected a feminist subtext beneath its extravagantly campy surface.

One of the best British science-fiction films and one of the most controversial.

While many of the jokes don't pay off, it's still funny enough to merit your attention. Mancini's score adds pace and flow. This spectacle is almost totally uncontrolled, and therein lies much of its charm.

Funny--but not that funny--western spoof.

Following surgery Wayne wanted to prove he was still physically fit, and his role here certainly goes to great lengths to show it. Wayne rides, shoots, and fights as though the worst that had happened to him was a touch of the flu.

Even in this early effort the whimsical, odd world of Fellini comes dancing forth.

Also unforgettable is Steiger's towering performance as the volatile survivor, a powder keg of hateful remembrances.

A superior WWII film that provides plenty of edge-of-the-seat thrills, THE TRAIN also poses a rather serious philosophical question: is the preservation of art worth a human life?

It's so perfectly contrived and mechanical and fresh as a daisy, it's infuriating.

The implausible plot is intriguing, with some good performances by the cast that make it work. The pace is fine, with some genuine moments of suspense that work well within the story's framework.

Goldfinger contains more crowd-pleasing moments than any other Bond film, including Oddjob's flying bowler, a laser beam that almost emasculates Bond, the lavishly accessorized Aston Martin DB5, and the bizarre murder of Goldfinger's secretary (Shirley Eaton): she's gilded to death. It also features Shirley Bassey's terrific rendition of the Leslie Bricusse-Anthony Newley title song.

My Fair Lady, for all its kudos, often seems bloodless and never achieves the heights of the production that ran on the Mark Hellinger Theater stage eight times each week from 1956 through 1962.

Funny but far-fetched entertainment from director Minnelli, who doesn't need to rely on strange plot devices to make a good movie.

Slightly better than average Presley fare, Roustabout boasts a better cast than most of the King's films--with Stanwyck's presence lending the production status.

The standout in the cast is Julie Andrews, whose quality of sexy chill has never been used as effectively.

Hardly a feather in the cap of anyone involved, the film starts out well enough, but the last half degenerates into complete implausibility.

While this is a wonderful showcase for some fine acting--notably by Fonda--it is not great filmmaking, and one may be left wishing for the biting, off-the-wall satire of Dr. Strangelove.

One of the greatest children's films ever, MARY POPPINS is as perfect and inventive a musical as anyone could see, with a timeless story, strong performances, a flawless blend of live action and animation, wonderful songs, and a sterling script with all the charm of the P.L. Travers books upon which it is based.

Refreshing, innovative and immensely funny.