The promotional campaign was predictably geared to suggest a spinoff of American Graffiti, which does a disservice to this humble, frugal re-creation of Brooklyn, late-1950s. Indulging in much less wing-flapping and crowing, it is not at all guaranteed to appeal to the same crowd. The first feature of Stephen Verona and Martin Davidson, while funny at times in a painful and secondary sort of way, is concerned mainly with the pitifulness of characters who have nothing much to do, nothing much to say, and who frequently run into redundancies, ruts, and time-worn rituals (for some of the lack of imagination the moviemakers must share the blame). To get away with camerawork so detached and docile, the two directors bank heavily on the anonymity and credibility of their unproven actors; and the actors, to the smallest details, come through nicely. Sylvester Stallone, also credited with "additional dialogue," particularly pulls more than his share of the load, and his share is the biggest to begin with, in the role of the big moose in a gang of high-school kids on the verge of drifting separate ways into adulthood. With Perry King, Susan Blakely, and Henry Winkler. (1974) — Duncan Shepherd
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