Most of the important members of the American Graffiti gang, excluding Richard Dreyfuss, are reassembled and then separated into independent and alternating storylines, each set on New Year's Eve in consecutive years from 1964 to 1967, and each equipped with a custom-sized image, Paul Le Mat drag-racing in wide, wide Panavision, Charles Martin Smith fighting the Vietnam War in a small, grainy 16mm square, Candy Clark pursuing the lifestyle of a flower child on a Woodstock-style split screen (even a simple two-shot of a couple seated in a car is cut in half by a thick black bar), and Ron Howard and Cindy Williams striving for middle-class normalcy in a normal-sized image. (When this movie is cropped for TV showing, each of these four distinct images will presumably end up looking pretty much the same.) A complete and irreparable shambles. Written and directed by B.W.L. Norton. (1979) — Duncan Shepherd
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