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Fluffy, good-natured, endlessly quotable fun, just like you remember it.

Batman is packed with action, clever sight gags, interesting complications and goes all out on bat with batmania: batplane, batboat, batcycle, etc. etc.

Plays much like a traditional vaudeville card, what with its tantalizing teaser opening followed by three sketches of increasing quality, all building up to a socko headline act.

The others have a comic strip zeal which makes them intensely watchable, but ultimately it's left to Mad Max wizard Miller to steal the show.

Writer Colin Higgins makes a good directorial bow.

Unsatisfactory as a whole, the film is hilarious and tense in bits.

Walter Matthau and Jack Lemmon are awfully good at this sort of thing.

[Lemmon and Matthau] made much worse in the next few years.

In adapting his own best-seller, William Goldman has opted for an atmospheric thriller, a mood director Richard Attenborough fleshes out to its fullest.

A hammed-up version of the old chestnut about the ventriloquist who is 'taken over' by his dummy, clumsily adapted by William Goldman from his own novel.

Stallone and producers Irwin Winkler and Robert Chartoff know from experience audiences love to root for the underdog and have concocted an irresistible final 30 minutes.

Sylvester Stallone's follow-up to his runaway success of 1976 is a little more threadbare in spots than the original, but it still has some conviction and spunk.

The real question with Rocky III was how Sylvester Stallone could twist the plot to make an interesting difference. He manages.

Learning, especially from Scorsese, in his approach to action and performance, writer/director/star Stallone has somehow contrived to make each of his movies into a more magnificent spectacle than the last.