George Roy Hill's prettified treatment of Kurt Vonnegut's sci-fi novel about a man who is "unstuck in time," i.e., he skips uncontrollably back and forth along his lifeline, which divides too neatly into historical periods that have nothing in common except the sadsack presence of Michael Sacks. (He adapts to his variously aged makeup effects with a wan passivity never achieved by anybody portraying Mr. Chips.) The prime annoyances are the transitions. So much cleverness is spent to signal the time-changes, with logical free-association connections, that the movie bulges freakishly at the joints. (1972) — Duncan Shepherd
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