Gregory Weinkauf

This is the breakout role for Sigourney Weaver, whose iconic presence still propels this ride beyond the scores of substandard imitations that followed. Why see it on the big screen? Because it's bloody brilliant.

Ryan's performance burns with a rare and passionate veracity. The other half of the delight comes from director Jane Campion, whose sensualist eye and scabrous heart infuse In the Cut with guts and glory.

Kubrick's comic gem sparkles with enduring relevance.

Very charming and funny movie.

Sometimes the cinema is just heavenly, and this is one of those times.

While much of the film is as scattershot as life itself, there are a few superb sequences involving lucid dreaming that really get down to business.

Meandering but reasonably charming.

Not to be missed.

The Dreamers is a real humdinger, at once an intimate romance, a glimpse into a rather unconventional friendship and a beautifully focused celebration of cinema itself.

The effects are smashing, yet there's a heart behind them.

This film is a miracle, an extravaganza equal to its predecessors and in some ways more stunning. It is a profound testament to the extraordinary power of moving images and sound.

What we have here is an historical document of inestimable value, describing in no uncertain terms the terrible and beautiful times before AIDS.

The confusing, demanding role finally brings the actor home, and us with him.

In this bolder, longer new cut, characters are allowed to finish scenes previously left as DVD extras, effects are creepier, and the theories of "the Tangent Universe" are explored in greater depth. Friends and neighbors, this is a Great American Movie.

It's best appraised as a strong ensemble piece, a darkly dreamy slab of social commentary and definitely one of the year's best films.

While this road may contain too many potholes -- and plotholes -- to sustain an even ride, there are moments of greatness scattered throughout to remind us why Lynch is vital and why the French think he's so nifty.

Coppola and Murch have balanced their new edit with grace notes of sweetness, elegance and eroticism, and the payoff is grand, providing both a reprieve from the multiple blitzkriegs and a break in the monotony of the cruise up the Nung.

One of the finest qualities of Amadeus is that it reminds us of those rare occasions when an Oscar sweep is actually merited.

A masterful film about the magic of performance and the foibles of the artists behind it.

This astonishingly gritty film maintains its strong niche between Roberto Rossellini's "Open City" and Paul Greengrass' "Bloody Sunday" as a pinnacle of war-torn neo-realist drama.

Awesome! Bravura! Captivating! Dazzling!

Despite the presence of several sublimely cracked actors and some of the most abrasive white-trash caricatures since "Raising Arizona," Birch totally owns this movie.

One of this year's best films--a classic, even, like a C.S. Forester "Hornblower" story on steroids.

[Coppola] understands the crisp, oblique horror and wistfulness of Eugenides' narrative, plunking down five enchanting princesses into an environment that is anything but magical.

Feels mostly like an audacious prank.

Smart people will relish its temerariousness, average people will smile awkwardly and comment that it's "kinda different," and dimly lit people may mistake it for the Elmo movie and drool quietly in the back rows. It's a movie for everyone.

We're told that this new version is tweaked and enhanced, with the E.T. puppet digitally smoothed out, and the guns in the meanies' hands removed (silly, but bravo). [2002 re-release]

This roaring crowd-pleaser also boasts hilarious bits of business, insightful observations into the human condition, and geysers of kitschy computer-generated blood.