Ancient Rome, as built by Fellini. The characters may be split, as usual, into two camps, the lithe Beauties and the gross Uglies, and the grandly conceived scenes swim before your eyes as though they are revolving on a Lazy Susan. The production is undeniably impressive for its consistent lack of correspondence to the world as we know it. But enough is enough, and too much is too much, and the grease paint, the carnality, the flatulence, and the airlessness begin to weigh on you. (1969) — Duncan Shepherd
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