By this viewer’s idiosyncratic standards, Cul-de-Sac (1966) is Roman Polanski’s sole brush with greatness, and the only feature to keep faith with the surrealist metaphors and perceptions of his celebrated short films. It’s his most bizarrely funny, as well as his most serious work.

As an entertainment (“chewing gum for the eyes,” to apply John Mason Brown’s view of TV), Bullitt (Warner Bros. – Seven Arts) must be considered “a good buy”: It holds the attention for the whole of its 114 mins. Problems are mostly concealed by the film’s hip stances.