Sinbad and the Eye of the Tiger is a 1977 fantasy adventure film directed by Sam Wanamaker and featuring stop-motion effects by Ray Harryhausen.

Zenobia and Rafi follow in a boat propelled by the Minoton, a magical bronze automaton created by the sorceress with the appearance of a minotaur.

Once aboard his ship, she turns into a miniature human and listens as Melanthius tells Sinbad how to cure Kassim.

Zenobia uses an ice tunnel to reach the land of the Arimaspi, and she, Rafi and the Minoton climb subterranean stairs to emerge in the warm, Mediterranean-like valley above.

Momentarily overcome with grief, Zenobia cradles her son while Sinbad and Melanthius raise Kassim into the column of light at the top of the shrine, which breaks the spell on him.

The adventurers flee the temple as it collapses, becoming buried in snow and ice as the Mediterranean-like atmosphere disappears and is replaced by the freezing polar winds.

Amidst the celebration, Sinbad and Farah kiss while the film fades to black and the eyes of Zenobia appear on the screen.

The plan was to move away from some of the legendary creatures which had been features of previous films and use more recognizable prehistoric animals.

[5] Schneer had worked with Sam Wanamaker on The Executioner and hired him for this because "I wanted an actor's director for Eye of the Tiger, to see if we could get more dimension out of other-wise cardboard characters.

[6] Legendarily tall (7 ft 3 in [2.21 m]) performer Peter Mayhew made an unbilled acting debut in the film in some live-action sequences as the Minoton,[7][8] while Patrick Troughton (who had played the harpy-plagued blind Phineus in Harryhausen's 1963 film, Jason and the Argonauts) played Melanthius.

The massive, two-horned prehistoric rhinoceros-like creature was intended to fight the troglodyte in Hyperborea's land before the latter meeting with the protagonists.

Harryhausen did preproduction designs showing the beast defeating the troglodyte, then getting caught and dying in a pool of hot tar.

[19] Harryhausen also said he planned to have Sinbad and his crew fight a yeti in the arctic, but that idea was ultimately rejected in favor of a giant walrus.

[24] Reviewer Lawrence Van Gelder, writing for The New York Times, called the acting "rudimentary", but found the film enjoyable: "...this latest Sinbad adventure maintains the innocent and atavistic juvenile charm of the others in the series".

[12] Reviewer Lorna Sutton said the film was "pure escapist entertainment which doesn't require serious analysis or criticism".

[25] Five years after its release, an anonymous reviewer for the Ottawa Citizen described the film as a "bad umpteenth entry" in the series, and slowly paced.

[26] Linda Gross in the Los Angeles Times was kinder, declaring it "a fantasy laced with nostalgia and corn".

[27] In another retrospective review, Alan Jones of the Radio Times awarded the film three stars out of five, arguing that it "may not be up to the standard of the previous two Sinbad adventures—it's too long and Patrick Wayne is a distinctly charisma-free hero—but there's still plenty of pleasure to be had from the special effects of Ray Harryhausen".

[29] Some modern reviewers find the stop-motion work lackluster compared to previous Harryhausen films.