I don't have all the words right now but this film is a work of art.

Good movie, but best of all time? Hardly . . .

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The final film in the Airport series resorts to risqué humour and implausible villainy. The photography of Concorde, a British-French turbojet-powered supersonic passenger airliner, is impressive. It's understandable producers would see Concorde as the new and sensational staging for a disaster. George Kennedy takes the lead role in proceedings, and frankly, for a man of his talents, and credit to the series, he deserved a better script. With less of a stellar cast we are left with an empty vessel - a contrived plot and below par acting. The adventure is drab because it is filmed with the kind of simplicity associated with an episodic television drama. It's not the special effects that impedes suspense but the lack of storyboarding and direction. Antecedent films had scale, but Airport '79 has a stub of an ending with screen curtains pulled across quickly as if the writer had given up. The audience deserved better for sticking with it. In fact, the scene was set for a potentially original finale with a new form of danger, and escape.

Fourth and final entry in the series that began in 1970. That first film helped kickstart the all-star big budget disaster trend in 70's cinema, and this final outing helps just as much at putting the final nails in the genre's coffin. Of course "Airplane" the following year would make fun of the entire previous decade's worth of disaster films.Alain Delon gets top billing as the captain of the title craft. With Susan Blakely and John Davidson as reporters, Robert Wagner as a crooked arms dealer, Sylvia Kristel as the head stewardess, Eddie Albert as the airline owner, Sybil Danning as his trophy wife, Avery Schreiber as a Soviet Olympic coach with a deaf daughter, Andrea Marcovicci as the oldest Russian Olympic gymnast ever, Mercedes McCambridge as her busybody chaperone, Cicely Tyson as a mother to a child desperately in need of a heart transplant, Nicolas Coaster as the doctor to perform it, David Warner as the dieting flight engineer, Bibi Andersson as a prostitute, Jimmie Walker as a pot-smoking sax player, Charo as Margarita and Martha Raye as the woman who can't stay out of the bathroom (no, really).George Kennedy costars as Patroni, the only character to appear in all four films. This time he has a larger part as co-pilot of the title passenger jet, on route from the US to Paris, as Wagner's evil arms dealer hatches numerous inept plans to bring down the craft and destroy incriminating evidence. The dialogue is trite and banal as usual, and the various relationships and mini-dramas amongst the bloated cast never rise above the mundane.Keep your eyes open for an early appearance by Ed Begley Jr as Rescuer #1. Like many films of the era, the studio also cut together an extended version for TV broadcasts that added even more subplots and characters, played by the likes of Jose Ferrer, J.D. Cannon and Alan Fudge, but the version I watched was the original.

All the entries in the 70's disaster movie franchise "Airport" – a total of four movies spread over one decade – have been chastised by critics as well as regular action movie fanatics for being too grotesque and ludicrous. Me, personally, I liked the three previous installments a lot, but I can't but admit that the swan song in the series is a completely laughable effort. The supposedly adrenalin-rushing script is absurd, the stereotypical characters are cartoonish, the acting performances are wooden and the action sequences are downright hilarious. The set-up and plot of "The Concorde" is faithful to the previous movies. We have a cast full of acclaimed names, often in inferior little roles, and a screenplay that brings together pretty much everything that can go wrong on an intercontinental flight. The prestigious Concorde aircraft is ready to fly from New York to Paris and then onwards towards Moscow in celebration of the 1980 Olympics. One of the passengers is the female journalist Maggie Whelan, who's in possession of some important evidence that will unmask her ex-fiancée Kevin Harrison as an illegal weapon dealer. It's most vital for him that Maggie never reaches Moscow and thus he tries to kill her, as well as the rest of the Concorde passengers and crew, subsequently through nuclear missiles and sabotage. Luckily for the passengers, the Concorde has two of the world's biggest macho men behind the steering wheel with the French Captain Paul Metrand and the American veteran pilot Joe Patroni. "The Concorde: Airport 79" is a dumb and fairly pathetic film, but fortunately enough it remains amusing and never bores for one second. The sight of an hi-tech advanced airplane making loops in order to evade missiles is definitely bad in an entertaining way and the hammy performances of A-list stars are fun to observe as well. Particularly Robert Wagner is tremendous as the villain. With his straight face and eloquent monologues, he represents the prototype of Bond-movie villains and I strongly suspect that Mike Myers hired him to play Number Two in the Austin Powers' movie solely based on his performance here. Alain Delon looks quite bored and soft-erotica star Sylvia "Emmanuelle" Kristel is rather unnoticeable when she keeps her clothes on. Fun bloke George Kennedy is the only actor who appeared in all four of the "Airport" movies, so it's truly a shame that he plays his biggest role in the worst of the series. The dialogs are lame and some of the clichéd sub plots are horrendous (does there really have to be an emergency donor organ transport in every disaster movie?), but I certainly didn't regret the two hours of my life that I wasted on watching this film.

'The Concorde...Airport 79' was the last of the quartet of disaster movies that began with 'Airport' ( 1970 ), based on Arthur Hailey's novel. By the time this one appeared, the genre had run out of puff, as 'Meteor' and 'Beyond The Poseidon Adventure' clearly proved. Crusading television reporter Maggie Whelan ( Susan Blakely ) is given incriminating documents that prove beyond a doubt her lover, Dr.Kevin Harrison ( Robert Wagner ), is implicated in illegal arms sales. He decides to bump her off. Now, if you and I wanted to murder someone, we'd probably hire a hit-man. But that's too simple for Harrison. A real villain through and through; had the make-up department issued him with a false moustache, he'd probably be twirling it like there's no tomorrow.No sooner is Maggie's Concorde in the air than he dispatches robot drones and then armed Phantom jets to blow it to pieces. Luckily the plane is being flown by three brilliant, sex-obsessed men ( played by George Kennedy, Alain Delon, and British actor David Warner ) and they skilfully avoid destruction, before touching down in Paris where the Kennedy character ( 'Joe Patroni' - the only one to appear in all four movies ) makes out with a hooker! Maggie fails to connect the attacks on the plane with the importance of the documents on her person ( some reporter! ), and boards it again to fly to the U.S.S.R. Harrison insists he is innocent and pleads with her not to go. Does she listen? No way! Does he think to shoot her on the spot and spare the passengers his insane revenge plot? No way! The plane decompresses in mid flight and has to touch down in the snowy Russian wastes. Watching this on television, Harrison shoots himself in the head. End of film.Eric Roth ( who later wrote 'Forrest Gump' - another load of cinematic blue ice ) should have blushed with shame for taking the pay check for this farrago, while David Lowell Rich's direction is about as satisfying as airline food. Some fun to be had from the cast though, who include old-timers Eddie Albert and Martha Raye, and a few 'promising-newcomers-who-never-made-it' such as Andrea Marcovicci and John Davidson ( the latter's character seems to have been the inspiration for 'Ted Stryker' of 'Airplane!' ). You will howl at the sheer absurdity of it all, and the sight of a black guy ( Jimmie Walker ) wandering round the plane playing the saxophone while Martha Raye's pensioner forever dashes back and forth to the toilet only adds to the fun. Sylvia Kristel, a.k.a. 'Emmanuelle', looks tasty as the stewardess. You half expect her to rip her clothes off to use the material to make bandages. What David Warner is doing in all this is anybody's guess. He makes an inane speech about a giant banana at one point, and you wonder why his co-pilots feel safe flying with him.As it did not get released in Britain until a year after it was made, it was shiftly retitled 'Airport 80 - The Concorde'. That same year, 'Airplane!' arrived. The 'Airport' series had gotten so unintentionally farcical it must have been hard to tell the difference.I'll leave the last word to Joe Petroni. When the stewardess admires the pilots' masculinity, he replies ( probably the film's single most memorable moment ): "They don't call it a cockpit for nothing, honey!".