Hayley Mills plays twins in this innocent, fast-paced comedy, a favorite of countless youngsters in the 1960s. An enjoyable, corny Disney picture with a memorable soundtrack featuring tunes sung by Tommy Sands and Annette Funicello.

Since much of the action takes place in the tiny apartment, director Petrie had to pull out all the stops to keep it from being stage-bound, and, with the help of cinematographer Lawton, he succeeded.

After nearly three hours Fellini's relentlessly enigmatic, non-committal approach leaves you wishing for something more than poignant imagery and moody, self-obsessed characters. (Review of original release)

There's lots to recommend this shoestring picture, not the least of which is Baron's acting ability.

This is a zanily inventive piece of work, with delightful special effects, which set the style for a long series of live-action Disney films.

What Stravinsky's "La Sacre du Printemps" is to 20th-century music or Joyce's Ulysses is to the 20th-century novel, Godard's first feature, BREATHLESS, is to film.

Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast do still haunt one's viewing experience.

Played for comedy, the film never quite works, and Curtis can't quite handle his role.

The story, a romance with an interesting detective twist, is combined with exquisite caricatures of both humans and dogs.

WHERE THE BOYS ARE is plenty moralistic, yet the film is not without a naive sense of charm.

Director Donen takes us for a few romps in the green countryside to ease the claustrophobia, but this gratuitous meandering only serves to make us realize how hidebound the story is.

It's a tongue-in-cheek movie that avoids the sappy sentiment of so many "family" films and concentrates on sheer entertainment instead.

Though the film is overlong, the story is movingly told, the production values are high, and Ernest Gold's Oscar-nominated score is considered a classic.

Big, funny, tender and humane all at the same time, The Sundowners is a true "family" film, without any of the cloying connotations of that term.

A very frightening adaptation of the John Wyndham novel about a small English village that becomes the victim of unfriendly aliens.

Glossy trash with the star at full throttle, it's the quintessential La Liz movie.

Very nearly a classic, this Americanization of Akira Kurosawa's The Seven Samurai does a good job of mirroring the major themes and attitudes of the original while re-creating that monumental film in an occidental setting.

Spartacus is still a remarkable epic--one of the greatest tales of the ancient world ever to hit the screen. It's especially strong, and more typical of Kubrick, in the first half--before satire gives way to sentiment.

While nothing to rival Hitchcock, the film's look and direction make it a worthwhile effort. Doris Day makes the switch from light comedy to suspense fairly well, creating a believable victim, while Harrison, his usual debonair self, adopts a sinister air.

Akira Kurosawa's THE HIDDEN FORTRESS is a paradigm of the modern adventure epic--a marvelously entertaining blend of a simple but strong plot, exhilarating action scenes, tongue-in-cheek humor, and a solid philosophical underpinning.

Richardson's direction of this unhappy little gem gives off the appropriate dull glimmer while being economical and inventive.

Ralph Bellamy is superb as Roosevelt, capturing every nuance of a man who was the most photographed and listened-to politician of his generation. Surpassing Bellamy, though, is Garson, who doesn't play Eleanor Roosevelt, she becomes her.

It's got a jet black sense of humor that becomes increasingly apparent upon repeated viewings and there's no doubt that it is masterful filmmaking. Hitchcock himself approached it almost as a technical joke...The film is a textbook example of audience manipulation, as Hitchcock shifts our identification from character to character with the alacrity of a magician.

Chilling special effects highlight a rather gory production.

A free-wheeling, uninhibited all-star romp, Ocean's Eleven set the pace for the "caper" films of the 1960s and 1970s.

This smashing science-fiction adaptation of H.G. Wells's famous novel has more creativity in every frame than most latter-day rip-offs have in their entirety.

Inherit The Wind acutely captures the farcical Monkey Trial and offers the awesome talents of two double-Oscar winners, Tracy and March, in their only film together.

At best, this is a kiddie movie with a few laughs for the easily pleased adult.