Eighty-seven minutes of American landscapes and urban sociology are synchronized by filmmaker Godfrey Reggio to a plodding Philip Glass score. (A once interesting composer, Glass invariably does his worst work for films.) Despite a certain underground reputation, aided in part by Francis Ford Coppola’s sponsorship, this 1983 quasi-mystical documentary is largely a dull rehash of ideas given infinitely better realization in Vertov’s The Man With the Movie Camera and many other experimental films of the 20s.