It's every bit the great songfest it's hailed as, with bucketloads of innuendo thown in behind some of the most energetic musical numbers ever to grace the inside of a movie theatre.

Grease is a pure pop construct, fueled by movie-star poses, hit songs, and persistent audience fantasies of being an acceptable kind of "bad." Barry Gibb-penned disco theme aside, Grease doesn't really belong to any one era. It's like it's always existed.

Grease has got it, from the outstanding animated titles of John Wilson all the way through the rousing finale as John Travolta and Olivia Newton-John ride off into teenage happiness.

GREASE is not really the 1950's teen-age movie musical it thinks it is, but a contemporary fantasy about a 1950's teen-age musical—a larger, funnier, wittier and more imaginative-than-Hollywood movie with a life that is all its own. It uses the Eisenhower era — the characters, costumes, gestures and particularly, the music—to create a time and place that have less to do with any real 50's than with a kind of show business that is both timeless and old-fashioned, both sentimental and wise. The movie is also terrific fun.

No revival, however joyously promoted, can conceal the fact that this is just an average musical, pleasant and upbeat and plastic.