A pretty watchable and always interesting period film, well photographed by English cinematographer Freddie Francis.

Watchable enough on its own terms.

With the devout collaboration of the cast, Williams blurs the boundary between experience and storytelling as if the distinction were not only irrelevant but presumptuous.

Sumptuously hued in its emotional and visual tones, this drama is also a fairy tale, its plot contrivances beautifully justified by its minimalism.

Full of adventure, spectacle, light romance, and the kind of suspense that doesn't require an unpredictable outcome to make your spine tingle.

An entertaining if humdrum 1993 documentary...Seeing the actual deliberations behind image making has a certain built-in interest, but I expected more surprises.

This drama about an obese, illiterate black teen in Harlem practically guarantees some emotional uplift. But when it arrives, eventually, its authority is unimpeachable, so deeply has director Lee Daniels (Monster's Ball) immersed us in the depths of human ugliness.

Bujalski has a knack for the genuine moment.

This 2005 feature is demanding to say the least, but its pulse-slowing rhythms leave a real sense of peace.

A funny, offbeat superhero flick.

Holofcener's work is often classified as comedy of manners, but at her best she trades in something much more resonant--the comedy of mores. Here she dives into the fascinating matter of why some people impulsively give and others compulsively take, and how people are taught to second-guess and quash their own generous impulses.

Fontaine and Jacques Fieschi collaborated on the screenplay, and Jocelyn Pook's chilly string score nicely evokes the menace underlying the film's plush settings.

Old-fashioned, beautifully crafted biopic of painter Jang Seung-up.

Despite the rich associations, the film finally makes little more of its central figure, a hideously deformed young man, than an object of pity.

The children are not exactly reporters -- they bring back no shattering images of sexual servitude -- but their photography, like much children's art, is fresh and sometimes startling.

Sweet and warm as well as manic, this is full of loopy surprises, and the supporting cast (including Penelope Ann Miller, Bruno Kirby, Steve Bushak, Maximilian Schell, and Bert Parks, playing himself in his film debut) is uniformly fine.

One regrets the pounding Muzak of Tangerine Dream, but this is on the whole a striking directorial debut, at once scary and erotic, with lots of sidelong touches in the casting, direction, and script .

On the whole, the adaptation is faithful but some of the qualities of Dinesen's language are lost in translation or through abridgment, and the politics have been needlessly simplified.

This may not have gotten much publicity, but it's a lot more engaging than most movies that have; Forster alone makes it unforgettable.

An impressive mix of entertainment and social comment, spinning a great mystery even as it confronts an ugly world.

At times Hirsch seems afraid to trust the material's inherent drama and becomes unnecessarily manipulative, staging performances in striking landscapes and playing the footage in slow motion.

I wouldn't have minded even the Hollywood schlock lurking behind the studied weirdness if I'd believed in any of the characters on any level.

Strange, unpredictable, and sometimes magical.

Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.

Fleet, gripping documentary.

This 1927 silent feature won the first Academy Award for best picture, establishing a tradition of silliness that hasn’t been broken to this day, but there is some thrilling flying footage and impressively expensive spectacle.

This may have its occasional dull stretches, but in contrast to "Saving Private Ryan" it's the work of a grown-up with something to say about the meaning and consequences of war.

Alan Rudolph redreams the dream of film noir in this dense, beautifully executed, highly stylized romantic fantasy.