The last of seven "Road to" pictures and an awkward attempt at re-creating the fun of the previous films, this one has a few funny moments, but it's so filled with inside jokes that a lot of it will be lost on anyone who hasn't seen the other six movies in the series.

Peckinpah's attention to detail and character makes this film a multifaceted jewel to be studied and enjoyed again and again. The honest, subtle, and consummately skillful performances by Scott and McCrea and promising newcomer Mariette Hartley continue to draw viewers in.

An effective climax shows a stone eagle coming to life, proving once again that behind every great man, etc.

Francois Truffaut's greatest achievement, Jules and Jim is a shrine to lovers who have known obsession and been destroyed by it.

The movie is certainly above average, thanks to the performances by Stewart and Wayne, but Marvin is so flamboyant a badman that he is simply a caricature, even more so than in his outlandish Oscar-winning turn in Cat Ballou.

Suspenseful and very frightening, thanks to Robert Mitchum's lethally threatening performance and the frightened reactions of a pro cast.

Edwards' direction is effective, although he relies too heavily on overhead and boom shots to show his action scenes.

A pure, personal poem from one of the greats, THE TESTAMENT OF ORPHEUS allows Cocteau to live on forever.

Most of it comes across as overheated nonsense, but Page's egomaniacal telephone soliloquy at the film's climax is reason enough to tune in.

The usual fine performances from Bergman's regulars combined with a script that is not as ponderous as much of the director's other works earned THROUGH A GLASS DARKLY an Academy Award for Best Foreign Film of 1961 and an Oscar nomination in 1962 for Best Screenplay.

Perhaps the best Hudson-Day film.

A liberal film on the subject of homosexuality rather than the radical film some considered it at the time, Victim still stands as an intelligent film attempting to address an important social issue.

Good Morning is thoroughly enjoyable comedy that, somewhat atypically for director Yasujiro Ozu, is sunny throughout, without the darkness or sense of melancholy that rests under the surface of most of this gentle director's work.

The performances range from adequate (Balkin's) to exquisite (MacLaine's), and the movie broke new ground for 1961. These days the story wouldn't be all that controversial, but in 1934, when the play was first presented, it dealt with a different set of mores.

Though unrelentingly bleak, Judgment at Nuremberg is absorbing from beginning to end.

This film begins at mach one and gets somewhere near the speed of light by the time it finishes.

Eleventh-century Spain has been lavishly recreated by Mann and producer Samuel Bronston. The photography by Robert Krasker is spectacular, as are the battle scenes, filmed with the help of veteran stuntman Yakima Canutt as second-unit director.

A generally disappointing film, with only Bolger and Wynn to recommend it.

When it's good, very good; when it's bad, a stinker.

Depending on your level of Elvis fandom, you'll either find this a typically fluffy Presley vehicle with mainly forgettable tunes--save the hit I Can't Help Falling in Love--or none of that will matter.

The Comancheros is not a terrible film; in fact much of it is entertaining. But it is obviously the effort of two talented men far from their peak powers.

Youth exploitation pictures were all the rage at the time, and while this is better than some in execution and intent, it's still exactly that.

One of the great New York films, swathing the city in a layers of dewy love and glossy chic. [Review of re-release]

The story is slim but the jazz is great, especially when legendary Louis Armstrong gets into the act.

This dark stunner, based on Walter Tevis's novel, boasts Paul Newman in the role that made him an overnight superstar.

With Mifune's tongue-in-cheek performance and the wildly stylized battle scenes featuring mallet and pistol-wielding samurai, YOJIMBO may just be the first post-modern samurai film.

Screenwriter Richard Matheson did a fine job of adapting Poe's rather limited (for films) short story by saving the dungeon sequences for the climax and then creating a rather interesting plot line to lead up to it. One of Corman's and AIP's best.

Full of mysterious twists and turns, this expertly crafted thriller casts Strasberg as the wheelchair-bound step-daughter of Todd.