The quintessential British caper film of the 1960s, The Italian Job is a flashy, fast romp that chases a team of career criminals throughout one of the biggest international gold heists in history. Michael Caine is Charlie Croker, a stylish robber and skirt-chaser just out of British prison. Shunning rehabilitation for recidivism, Croker takes over "The Italian Job," a complicated plan to hijack gold bullion from Italy -- right from underneath the noses of the Italian Police and the Mafia. The job, whose original mastermind was murdered, clearly requires the sponsorship of a richer, more established criminal than Croker. He turns to the auspices of the eccentric Mr. Bridger (Noël Coward in his last film role), a suave, regal, incarcerated English crime boss with a peculiar fascination with the Queen. Bridger provides Croker with a quirky group of Britain's most infamous computer hackers (including a lascivious Benny Hill), bank robbers, hijackers, and getaway drivers -- the ex-con is soon well on his way to relieving Italy of the gold. ~ Aubry Anne D'Arminio, Rovi

It wasn't as well received at the box office as the pictures that preceded it or followed it, but Peter Hunt's On Her Majesty's Secret Service was the finest of the James Bond movies and also arguably the last truly great movie in the series. James Bond, portrayed here by George Lazenby (in his only performance in the role) has spent nearly two years trying to track down Ernst Stavro Blofeld (Telly Savalas), the head of SPECTRE. He has been taken off the case by his chief (Bernard Lee), an action the pushes him to the point of considering resigning from Her Majesty's Secret Service, just as he opens a possible new avenue of attack on his quarry. Whilst in the field, Bond has chanced to cross paths with the Contessa Teresa Di Vicenzo (Diana Rigg), a beautiful but desperately unhappy woman, whom he rescues from one apparent suicide attempt and an embarrassing moment at a casino gaming table -- the Contessa, who prefers to be called Tracy ("Teresa was a saint"), is the daughter of Marc Ange Draco (Gabriele Ferzetti), an industrial and construction magnate and also a crime boss, who is impressed with Bond personally as well as professionally, and would like to see him marry his daughter. Bond is, at first, unwilling to involve himself with a woman -- any woman -- on that level, but Draco's underworld contacts give Bond a vital clue to Blofeld's whereabouts that get him back on the case and hot on the man's trail. Journeying incognito to Blofeld's mountaintop retreat in the Swiss Alps, Bond finds the criminal mastermind posing as a would-be nobleman and also as a philanthropist, running a clinic devoted to the treatment and eradication of allergies. It's all a front for a surprisingly sinister (and scientifically valid) plot for international blackmail that would make any previous Bond villain quake in fear. And in the process of staying alive long enough to have a chance of stopping Blofeld, Bond discovers the Tracy is truly like no woman he's ever known before -- one special enough that he finds himself willing to give up his life as a free-living, free-loving bachelor. ~ Bruce Eder, Rovi

Before he was the Terminator (1984), before he fought the Predator (1987), and even before he was Pumping Iron (1977), Arnold Schwarzenegger starred in his first movie, the low budget crap fest Hercules in New York (aka Hercules Goes Bananas, Hercules: The Movie, 1970). Calling it a crap fest so callously does do it some injustice as it is a hell of a lot of fun to watch.

The film begins on Mount Olympus, as Hercules whines to his father Zeus that he wants to have adventures with the mortals below. Zeus gets annoyed with Hercules’ discontent and launches him to Earth by blasting him with a lightning bolt which hurdles him off the mountain. After scaring old women on an airplane, Hercules lands on a naval ship and somehow gets enlisted. He then promptly throws another fit, beating up the entire crew as it docks in New York City. There in New York, Hercules befriends a schlub of a pretzel vendor named, aptly, Pretzie (played by veteran character actor Arnold Stang). Pretzie persuades Hercules to become a professional wrestler to pay for their hotel bill, and then the two start to get muscled by the mafia. All the while, hilarity is ensuing.

Opening with a silent "movie" of Butch Cassidy's Hole in the Wall Gang, George Roy Hill's comically elegiac Western chronicles the mostly true tale of the outlaws' last months. Witty pals Butch (Paul Newman) and Sundance (Robert Redford) join the Gang in successfully robbing yet another train with their trademark non-lethal style. After the pair rests at the home of Sundance's schoolmarm girlfriend, Etta (Katharine Ross), the Gang robs the same train, but this time, the railroad boss has hired the best trackers in the business to foil the crime. After being tailed over rocks and a river gorge by guys that they can barely identify save for a white hat, Butch and Sundance decide that maybe it's time to try their luck in Bolivia. Taking Etta with them, they live high on ill-gotten Bolivian gains, but Etta leaves after their white-hatted nemesis portentously arrives. Their luck running out, Butch and Sundance are soon holed up in a barn surrounded by scores of Bolivian soldiers who are waiting for the pair to make one last run for it. ~ Lucia Bozzola, Rovi

In 1880 in Yell County, Arkansas, 14-year-old Mattie Ross vows vengeance on her father's murderer, hired man Tom Chaney, who has fled into Indian Territory. Accordingly, she enlists the aid of one-eyed U. S. Marshal Rooster Cogburn and accepts the help of Texas Ranger La Boeuf, who is intent on the reward awaiting the man to capture Chaney for crimes committed in Texas. Despite mutual distrust, Rooster and La Boeuf unite to dissuade Mattie from accompanying them on their dangerous mission. Undeterred, she joins the manhunt. The trio tracks the assassin across the border to the refuge of outlaw Ned Pepper. During a surprise raid on Pepper's hideout, the lawmen kill four of his fellows and find a gold piece once the property of Mattie's father. Alone, Mattie encounters Chaney. Although she wounds him, Mattie is taken hostage by Pepper's band. Fearing for the girl's life, La Boeuf and Rooster pretend to retreat. Armed to the teeth, the two return unexpectedly to rescue Mattie. As Chaney bludgeons La Boeuf, Mattie shoots the fugitive a second time and falls backwards into a snakepit. After slaying Chaney, Rooster, aided by the dying ranger, pulls Mattie from the pit. Discovering that she has been bitten by a rattlesnake, the marshal, himself wounded, rushes the girl to a physician. Recovering from her injuries, the child proclaims to Rooster her wish to be buried next to him.

The "Carry On" gravy train continues in this entry that registers high on the randiness and vulgarity levels. Sid Boggle (Sidney James) and his best pal Bernie Lugg (Bernard Bresslaw) take off for the holidays with their girlfriends Joan Fussey (Joan Sims) and Anthea meeks (Dilys Laye). The gals know that the boys are taking them camping -- what they don't know it that it is also a nudist camp. Once there they are attracted to other campers -- particularly a group of gals from the Chayste Place Finishing School. Sexual innuendoes and double entendres become the order of the day. . . and night. ~ Paul Brenner, Rovi

Filem Ahmad Albab mengisahkan di sebuah negara yang bernama Entadiman, tinggal seorang hartawan bernama Mashood (A.R Tompel). Dia sangat sombong, takbur, bakhil dan tidak percaya bahawa kekayaannya itu datang daripada Allah. Dia menyangka kekayaan hanya datang dari manusia yang bijak sepertinya sahaja.

Mashood mempunyai tiga orang puteri yang cantik jelita – Suhara (Mimi Loma), Mastura (Saloma) dan Zahara. Oleh kerana Mastura sering tidak sependapat dengan ayahnya, dia dinikahkan dengan seorang gembala kambing bernama Syawal (P. Ramlee) sedangkan Suhara dan Zahara dinikahkan dengan anak orang-orang kaya.

Pada suatu hari, sedang Syawal mencari kambingnya yang hilang di sebuah gua, dia terjumpa harta yang sangat banyak. Apabila dia hendak mengambil harta tersebut, muncul Jin yang menjaga harta itu lalu memberitahunya yang harta itu adalah kepunyaan Ahmad Albab. Syawal sangat bingung memikirkan siapakah dia Ahmad Albab?

Bagaimanakah kisah yang akan terjadi seterusnya… Filem Ahmad Albab diarahkan oleh Tan Sri P. Ramlee.

Pelakon: Tan Sri P. Ramlee, A.R Tompel, Saloma, Mariani, Mimi Loma, Karim Latif, Tony Azman.

Filem Anak Bapak mengisahkan Che’ Harun (P. Ramlee) ialah seorang pengurus ladang getah kepunyaan bapanya sendiri. Dia seorang yang boros berbelanja dan sering ketiadaan wang. Walaupun sikapnya begitu, namun dia juga adalah seorang pengurus yang baik hati dan amanah. Untuk melepaskan sikapnya yang suka berfoya-foya di kelab malam dia banyak berhutang dengan ceti.

Di kelab malam yang selalu dikunjunginya dia berkenalan dengan Che’ Normah (Ruminah Sidek). Bagi menjelaskan hutang-hutangnya, Che’ Harun terpaksa berbohong dengan bapanya Dato’ Mahfuz (A.R Tompel) dengan menyatakan yang dia memerlukan wang untuk melangsungkan pernikahan. Dato’ Mahfuz yang tinggal berjauhan daripada anaknya sememangnya sudah lama mendesak Che’ Harun supaya berkahwin. Mendengar berita gembira tersebut, Dato’ Mahfuz tidak berfikir panjang lalu terus mengirim wang yang banyak kepada anaknya.

Sementara itu, Dato’ Mahfuz yang sering terganggu kesihatannya telah dinasihatkan doktor supaya berehat dan bercuti di luar. Dia mengambil keputusan untuk pergi ke Kuala Lumpur ditemani jururawat yang selalu menjaganya iaitu Halimah (Rose Yatimah). Sambil berehat dia juga ingin bertemu anak dan menantu barunya. Ketibaan bapanya menyebabkan Che’ Harun menjadi serba salah kerana dia sebenarnya masih belum bernikah dan ini menyebabkan dia menjadi kelam kabut dan dia terpaksa meminjam isteri pemandunya Salleh (Ibrahim Din) untuk berlakon menjadi isterinya…

Apakah kisah yang akan terjadi seterusnya… Filem Anak Bapak diarahkan oleh Tan Sri P. Ramlee.

Pelakon: Tan Sri P. Ramlee, A.R Tompel, Ibrahim Din, Rose Yatimah, Ruminah Sidek, Noran Nordin, Karim Latif.

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi

When unexpected radiation raises the dead, a microcosm of Average America has to battle flesh-eating zombies in George A. Romero's landmark cheapie horror film. Siblings Johnny (Russ Streiner) and Barbara (Judith O'Dea) whine and pout their way through a graveside visit in a small Pennsylvania town, but it all takes a turn for the worse when a zombie kills Johnny. Barbara flees to an isolated farmhouse where a group of people are already holed up. Bickering and panic ensue as the group tries to figure out how best to escape, while hoards of undead converge on the house; news reports reveal that fire wards them off, while a local sheriff-led posse discovers that if you "kill the brain, you kill the ghoul." After a night of immolation and parricide, one survivor is left in the house.... Romero's grainy black-and-white cinematography and casting of locals emphasize the terror lurking in ordinary life; as in Alfred Hitchcock's The Birds (1963), Romero's victims are not attacked because they did anything wrong, and the randomness makes the attacks all the more horrifying. Nothing holds the key to salvation, either, whether it's family, love, or law. Topping off the existential dread is Romero's then-extreme use of gore, as zombies nibble on limbs and viscera. Initially distributed by a Manhattan theater chain owner, Night, made for about 100,000 dollars, was dismissed as exploitation, but after a 1969 re-release, it began to attract favorable attention for scarily tapping into Vietnam-era uncertainty and nihilistic anxiety. By 1979, it had grossed over 12 million, inspired a cycle of apocalyptic splatter films like The Texas Chainsaw Massacre (1974), and set the standard for finding horror in the mundane. However cheesy the film may look, few horror movies reach a conclusion as desolately unsettling. ~ Lucia Bozzola, Rovi

In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. To get his hands on prime railroad land in Sweetwater, crippled railroad baron Morton (Gabriele Ferzetti) hires killers, led by blue-eyed sadist Frank (Henry Fonda), who wipe out property owner Brett McBain (Frank Wolff) and his family. McBain's newly arrived bride, Jill (Claudia Cardinale), however, inherits it instead. Both outlaw Cheyenne (Jason Robards) and lethally mysterious Harmonica (Charles Bronson) take it upon themselves to look after Jill and thwart Frank's plans to seize her land. As alliances and betrayals mutate, it soon becomes clear that Harmonica wants to get Frank for another reason -- it has "something to do with death." As in his "Dollars" trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title. ~ Lucia Bozzola, Rovi

An expensive but enormously profitable war picture, Where Eagles Dare centers upon a daring rescue and even more daring escape. Disguised as Nazi officers, commandoes Maj. John Smith (Richard Burton), Lt. Morris Schaffer Clint Eastwood and six other courageous souls parachute behind enemy lines. Their mission: to rescue an American general, held captive in a supposedly impenetrable Alpine castle. Aiding and abetting the commandoes are Allied undercover agents Mary (Mary Ure) and Heidi (Ingrid Pitt). Also on hand is a British officer (Patrick Wymark), who masterminded the mission. Somewhere, somehow, someone amongst the Allies is going to turn out to be a traitor. There's also a neat plot twist in store when the commandoes manage to reach the American general -- which leads to yet another twist. The vertigo-inducing climax has made Where Eagles Dare one of the most sought-after of "early" Eastwood starring features. The film was written directly for the screen by espionage novelist Alistair MacLean. ~ Hal Erickson, Rovi

Theatrical producer Max Bialystock (Zero Mostel) was once the toast of Broadway. Now he lives in his seedy office, cadging cash contributions from wealthy old ladies in exchange for sexual favors. Even worse, he's reduced to wearing a cardboard belt. Max's new accountant, Leo Bloom (Gene Wilder), the soul of honesty, suggests that Max produce a hit to try to recoup his losses, but Max knows that it's too late for that. Offhandedly, Leo muses that, if Max found investors for a flop, he could legally keep all the extra money. Suddenly, Max's eyes light up -- and in that moment, Leo Bloom is gloriously corruptible. "I want everything I've ever seen in the movies!" cries Leo as Max embraces him. Together, Max and Leo conspire to select the worst play, the worst playwright, the worst director, and the worst actor to collaborate on their guaranteed flop. That play is Springtime for Hitler, "a delightful romp...with Adolf Hitler and Eva Braun." The playwright is Franz Liebkind (Kenneth Mars), an unreconstructed Nazi who, in drunken delirium, insists that Hitler was a better painter than Churchill -- "He could paint an entire apartment in one afternoon, two coats!" The director is pompous transvestite Roger De Bris (Christopher Hewett), who is preparing to go to a costume party garbed as Marie Antoinette when Max and Leo come calling ("Max, Max, he's wearing a dress"). And the star, selected after extensive auditions, is hippie-freak Lorenzo St. DuBois (Dick Shawn) -- "L.S.D." for short.

At the end of several weeks, Max has sold 25,000 percent of the show; and, as a finishing touch, Max bribes the opening-night critics for a favorable review, knowing full well that such a gesture is the kiss of death. The curtains part, and Springtime for Hitler opens with perhaps the most tasteless production number in the history of films. At the end of this extravaganza, the audience sits in dumbfounded silence. Gleefully, Max and Leo repair to a corner bar to celebrate their failure. But then.... The first directorial effort of Mel Brooks, The Producers didn't do so well on its first release, but since that time it has taken its place as one of the all-time great movie comedies. ~ Hal Erickson, Rovi

A corrupt opportunist commits brutal crimes in the name of God and country in this atmospheric period horror tale. In 17th century England, as a people's uprising threatens Lord Cromwell's rule, superstition still rules the land, and the Royalists use this to their advantage by inaugurating a reign of terror in the name of wiping out alleged witches and agents of the dark arts. Matthew Hopkins (Vincent Price) has been appointed "witchfinder" by Puritan Royalists, and with the help of his thuggish assistant Stearne (Robert Russell), Hopkins travels from town to town, brutally interrogating those accused of witchcraft and using fire, drowning, and torture to extract "confessions" from the accused. Of course, Hopkins' opinions can be swayed with money and other considerations, and when Father Lowes (Rupert Davies), a priest whose sympathies do not lie with the Royalists, is arrested and tortured by Hopkins and Stearne, his devoted niece Sarah (Hilary Dwyer) is able to stay his punishment by sleeping with Hopkins. Sarah, however, is engaged to marry Marshall (Ian Ogilvy), a soldier in Cromwell's army, and once Marshall learns that the woman he loves has been seduced by Hopkins -- and raped by Stearne -- he becomes determined to expose the witchfinder and punish him for his misdeeds. Witchfinder General was released in the United States by American International Pictures, who in addition to arranging for Vincent Price to play Matthew Hopkins, changed the North American title to The Conqueror Worm, after a poem by Edgar Allan Poe which was read over the credits by Price, though the story bears no real relation to Poe's work. ~ Mark Deming, Rovi

"Just one word: plastic." "Are you here for an affair?" These lines and others became cultural touchstones, as 1960s youth rebellion seeped into the California upper middle-class in Mike Nichols' landmark hit. Mentally adrift the summer after graduating from college, suburbanite Benjamin Braddock (Dustin Hoffman) would rather float in his parents' pool than follow adult advice about his future. But the exhortation of family friend Mr. Robinson (Murray Hamilton) to seize every possible opportunity inspires Ben to accept an offer of sex from icily feline Mrs. Robinson (Anne Bancroft). The affair and the pool are all well and good until Ben is pushed to go out with the Robinsons' daughter Elaine (Katharine Ross) and he falls in love with her. Mrs. Robinson sabotages the relationship and an understandably disgusted Elaine runs back to college. Determined not to let Elaine get away, Ben follows her to school and then disrupts her family-sanctioned wedding. None too happy about her pre-determined destiny, Elaine flees with Ben -- but to what? Directing his second feature film after Who's Afraid of Virginia Woolf?, Nichols matched the story's satire of suffocating middle-class shallowness with an anti-Hollywood style influenced by the then-voguish French New Wave. Using odd angles, jittery editing, and evocative widescreen photography, Nichols welded a hip New Wave style and a generation-gap theme to a fairly traditional screwball comedy script by Buck Henry and Calder Willingham from Charles Webb's novel. Adding to the European art film sensibility, the movie offers an unsettling and ambiguous ending with no firm closure. And rather than Robert Redford, Nichols opted for a less glamorous unknown for the pivotal role of Ben, turning Hoffman into a star and opening the door for unconventional leading men throughout the 1970s. With a pop-song score written by Paul Simon and performed by Simon & Garfunkel bolstering its contemporary appeal, The Graduate opened to rave reviews in December 1967 and surpassed all commercial expectations. It became the top-grossing film of 1968 and was nominated for seven Oscars, including Best Picture, Actor, and Actress, with Nichols winning Best Director. Together with Bonnie and Clyde, it stands as one of the most influential films of the late '60s, as its mordant dissection of the generation gap helped lead the way to the youth-oriented Hollywood artistic "renaissance" of the early '70s. ~ Lucia Bozzola, Rovi

Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come. ~ Don Kaye, Rovi

The final animated feature produced under the supervision of Walt Disney is a lively neo-swing musical, loosely based upon the tales of Rudyard Kipling. The story takes place in a tropical jungle where people are conspicuously absent. But one day Bagheera the Panther (voice of Sebastian Cabot) discovers a baby in the wreck of a boat. Feeling pity on the child, Bagheera takes him to be raised with the wolves. Ten years later, the child has grown into Mowgli (voice of Bruce Reitherman). Mowgli discovers that his life is in danger because of the return to the area of Shere Khan the Tiger (voice of George Sanders), whose hatred of humans is such that Mowgli faces certain death if discovered. Bagheera agrees to transport Mowgli to the human village, where he will be safe from Shere Khan. Along the way to the village, night falls and Mowgli and Bagheera almost succumb to the man-eating snake Kaa (voice of Sterling Holloway). Escaping Kaa's coils, they run into the lock-step military elephant band of Colonel Hathi (voice of J. Pat O'Malley). Afterwards, Mowgli, who doesn't want to be sent to the human village, runs away from Bagheera and meets up with the fun-loving Baloo the Bear (voice of Phil Harrris). With both Bagheera and Baloo to protect him, Mowgli is saved from several more life-threatening situations -- including a barber-shop quartet of vultures, the crazed King Louie of the Apes (voice of Louis Prima), and Shere Khan himself -- before making it to the village of humans. ~ Paul Brenner, Rovi

James Bond heads East to save the world (and to learn how to serve saki properly) in this action-packed espionage adventure. When an American spacecraft disappears during a mission, it's widely believed to have been intercepted by the Soviet Union, and after a Russian space capsule similarly goes missing, most consider it to be an act of American retaliation. Soon the two nations are at the brink of war, but British intelligence discovers that some sort of UFO has crashed into the Sea of Japan. Agent 007, James Bond (Sean Connery) is sent in to investigate. After staging his own death to avoid being followed, Bond, disguised as a Japanese civilian, teams up with agent Tiger Tanaka (Tetsuro Tamba) and his beautiful associate Aki (Akiko Wakabayashi). With their help, Bond learns that both the American and Russian space missions were actually scuttled by supercriminal Ernst Blofeld (Donald Pleasance) in yet another bid by his evil empire SPECTRE to take over the world. As he battles the bad guys, Bond finds time to romance both Kissy Suziki (Mie Hama) and Helga Brandt (Karin Dor). You Only Live Twice was one of Sean Connery's last outings as James Bond. The next Bond film, On Her Majesty's Secret Service, would star George Lazenby as 007, and while Connery would return for Diamonds Are Forever, in 1973, Roger Moore took over the role. (Connery would play Bond one last time, in 1983's Never Say Never Again, which was produced outside the official series.) ~ Mark Deming, Rovi

Sidney Poitier, who in 1955 played a student in a tough inner-city high school, portrays a teacher assigned to a similar institution in To Sir, With Love. Unable to find work as an engineer, Poitier accepts a teaching post in London's East End slums. To reach his sullen, rebellious students, Poitier throws away his textbooks and endeavors to reach them as human beings--and as the adults they're going to become. It's an uphill climb, but gradually the students are won over. They begin referring to Poitier as "Sir," not out of blind obedience but as a gesture of genuine affection. Not that there aren't obstacles to overcome: in addition to trying to get through to hardcase student Christian Roberts, Poitier must face down the resistance and hostility of his fellow teachers. The sweetly sentimental finale amply displays the vocal talents of Lulu, who trills the title song. Based on the novel by E. R. Brainwaite, To Sir, With Love was one of the biggest moneyspinners of 1967 (with this film, Guess Who's Coming to Dinner and In the Heat of the Night, Sidney Poitier had quite a year). In 1996, a belated made-for-TV sequel was produced, briefly reuniting To Sir with Love co-stars Sidney Poiter, Lulu and Judy Geason, none of whom looked a day older. ~ Hal Erickson, Rovi