Grease

Grease s less parody than pastiche and hardly even that, since the recreation of the fifties and the start of the rock era is so vaguely placed in time, with as much period sense as a 1920s scene in a 1940s touring revue.

They make a nice pair [Danny & Sandy], someone is sure to say, but the film is no frame for them, being all bustling background.

Although Grease is pleasant enough summer fare, it has about as much bite or substance as white bread.

A movie that has as its true subject a bygone style but is utterly devoid of that quality itself.

Grease is so obviously aimed at an audience's wallet, one suspects with its shallow quick-hit attitude, it's going to be no more than a movie a lot of people see once and easily forget a few minutes later.

The best element in the film is John Travolta, whose magnetic presence dominates the film, just as in Saturday Night Fever.

Slicked-back, sharp looking and raring to rock, Grease is an exuberant entertainment guaranteed to offer at least temporary relief from any summertime blues which ail you.

Where the stage Grease seemed merely loud, this one is lyrical. Its beat is not only heavy but effervescent,

Exuberant song and dance scenes are what make Grease the enjoyable diversion that it is. It is not a knockout film. But Grease is a smartly crafted revival of a traditional movie musical form, and for that we are thankful.

With a script by Bronte Woodard and an adaptation by co-producer Allan Carr, Grease comes to admirable terms with both the heart of the stage original and the very different demands of opening up the property as a movie.