T HE GOOD NEWS IS: the genre melodrama in all its variety is making a comeback in American film. Yes,

MICHAELANGELO Antonioni's Zabrickie Point, crucified by the nation. I press as the naive product of questionable motives, is not as

T HE TASK of writing critically about John Ford is made considerably easier now that several battles need no longer

W E ARE BESET by a crop of western about extremely competent people. In Sam Whiskey, a dreary little film

P ETER BOGDANOVICH'S Targets, a low-budget oddity of considerable merit, snuck into Boston last week on the bottom half of

I CE STATION ZEBRA doesn't afford much cause for complaint: its faults are all small and obvious, as are its

T HERE MAY HAVE been a picture once in Shalako, but it got lost somewhere along the line. Its premise--European

M OVIES that include quotes from other movies generally run afoul when the excerpted film makes its showcase suffer by

A MIDST the plastic flora and fauna of Disneyland, a small and inconspicuous pavilion called The Art of Animation offers

A LTHOUGH no particular reason exists to get upset about I Love You, Alice B. Toklas, a sombre little comedy