Often seems more old-fashioned than modern.

Thanks to a natural and highly charismatic performance by Judd, Ruby in Paradise has a graceful lyricism--as well as a complex sense of what living in today's world is like--that will stay with you; the tempo is slow and dreamy, but the flavor is rich, and it lasts.

Spheeris, who includes her offscreen questions, evidently sympathizes with her subjects, though this doesn't stop her from pointing out their hypocrisy.

Made in 1937 by a relatively young and innocent Alfred Hitchcock, this British feature tends to be overshadowed by The 39 Steps and The Lady Vanishes, but actually it’s only the uncharismatic casting that holds it back from being one of the most entertaining of Hitchcock’s English films.

A small, solid film, made with craft if not resonance.

A clarion call for freedom and collective action both hopeful and energizing, it qualifies as a generational statement as Rebel Without a Cause did in the 50s, but without the defeatism and masochism. Not to be missed.

This is second-level Marx Brothers, which means it's funny but not hysterical.

Well-intentioned tripe, directed with made-for-TV solemnity by John Korty.

This story of a party girl (Audrey Hepburn) in love with a gigolo (George Peppard) allows Edwards to create a very handsome film, with impeccable Technicolor photography by Franz Planer. [Review of re-release]

The sinister mise-en-scene is compromised only by a few overripe lines from screenwriter Steve Shagan, and Reynolds reveals himself as an actor of depth and complexity.

Despite the fitful energy and the beauty of the settings, the ugliness of the mise en scene and the crudity of the editing tend to triumph.

What matters most is feeding white-bread fantasies (the film is set in the slow-footed 50s, when blacks are only a rumor and nobody's ever heard of slam 'n' jam) and laying on the inspirational corn.

It's an inspired pairing. Wilson is electric as he seduces Chan into a partnership in this self-consciously crafted western, whose cleverness is only part of what makes it so funny.

A standard mix of performances, interviews, and gimmickry -- the image and sound sometimes loop or jump in a tiresomely literal attempt to translate the techniques of scratching and "beat juggling" into cinema.

Poignant if familiar story of a young person suspended between two cultures.

A strong and subtle horror film.

The picture has its moments of chilling insight, though essentially it is one more quaint early-70s stab at an American art cinema that never materialized.

As Martel points out, the movie is about the "difficulties" and "dangers" of "differentiating good from evil," and it requires as well as rewards a fair amount of alertness from the viewer.

This handsome period drama is the sort of quiet, homespun story that Duvall, who served as executive producer, has always loved.

The movie is affecting as a social portrait as well as a psychological drama.

All this edginess, combined with the grandeur and sweep of a classic western, demonstrates that Jones clearly knows how to tell a story -- and how to confound us at the same time.

The plots of animated features are often excuses for visual showboating, but here the lilting story line, based on west African folktales, complements the alternately sumptuous and austere images.

Apart from Swinton's fine performance, what largely distinguishes this is Brougher's sharp narrative focus.

A potent feminist protest--all the more so because some of the laws depicted are still in force today.

Filmmakers Richard Berge, Bonni Cohen, and Nicole Newhman do a superb job of telling this neglected story in vivid detail.

A late radical shift in tone, from jittery exuberance to ruinous alienation, strikes an impressive contemporary note amid all the obeisance to custom.