The film seems a bit studied, but the creepy plot still holds a certain fascination.

Jennings's film, with its missing fathers, sometimes threatens to become cloying, but it's almost always righted by a healthy dose of slapstick or the spectacle of little kids posing as muscle-bound killers.

Smart dialogue, an impeccably crafted story, and eye-catching LA locations make this low-budget feature by Alex Holdridge the most worthwhile date movie I've seen in some time.

Patton's personality--conveyed with pointed theatrical flair by George C. Scott--is registered in rich tones of grandeur and megalomania, genius and petty sadism.

Matthew Robbins acquits himself honorably as cowriter and director of this gentle 1987 fantasy about miniature spaceships that land on a tenement in Manhattan's Lower East Side and save the tenants from imminent expulsion and disaster at the hands of greedy real estate developers.

Clint Eastwood wisely chose a strong, simple thriller for his first film as a director (1971), and the project is remarkable in its self-effacing dedication to getting the craft right—to laying out the story, building the rhythm, putting the camera in the right place, and establishing small characters with a degree of conviction.

A powerful Christian parable, painful but illuminating, about crime and redemption.

Stark, mysterious, and often weirdly funny.

The film is long (142 minutes), claustrophobic, and intense, yet it works with elegance and rigor, like a philosophical problem stated and solved.

The film is shot with handheld cameras in the standard mockumentary style, but the content is often hilarious, especially when the trolls show up. There's also a marvelous deadpan comic performance by Otto Jespersen as a troll-hunter and tireless dispenser of troll lore.

The immersive quality of 3-D is particularly well suited to undersea documentaries, and this one, directed by Howard Hall ("Into the Deep"), offers a close-up look at such fantastic creatures as the fried egg jellyfish, the mantis shrimp, the sand tiger shark, and the thuggish wolf eel.

Elaborately rhetorical at the end, this 1961 film nevertheless develops its theme lucidly and with some of Bergman’s most unforgettable sequences.

On paper this may sound like soap opera, but Bier and screenwriter Anders Thomas Jensen (Mifune) have a good feel for character, and they're aided by a fine cast.

This smart and rocking video documentary by Tim Irwin follows the trio from its origins in suburban San Pedro, California, in 1979 to the death of singer-guitarist D. Boon in a 1985 car crash, which ended his deep and creatively fruitful friendship with bassist Mike Watt.

It's a highly professional piece of Hollywood sentimentalism.

As a director Carnahan definitely has the goods: the opening foot chase, a sequence that's been done to death, is genuinely terrifying.

It's MTV meets Merchant-Ivory, at once manneristic, hallucinatory, and exhilarating.

There aren't many movies that deal with middle-aged women, and this one manages to do so with a fair amount of wit and heart.

This impressive first feature by Jill Sprecher, coscripting with her sister Karen, shows that she has an eye and ear all her own.

The film's warmth and sympathy are underlined by some intelligence.

Efficient and absorbing...In spite of Kaufman's frequent faults of taste and judgment, the film flies on the strength of its collective performances—which range from the merely excellent (Scott Glenn) to the sublime (Ed Harris).

Kar Kar's singing is wonderfully expressive, and an improvised song to his wife at her grave site demonstrates the emotional wellspring of his music.

Witty and satisfying.

Their use of multiple formats-including digital video, Super 8, and 35-millimeter slides-gives the movie the texture of a worn scrapbook.

Jean Gabin wasn't yet 50 when he starred as a big-time, high-style gangster hoping to retire, but he still looks pretty wasted, and this pungent tale about aging and friendship, adapted from a best-selling noir thriller by Albert Simonin, would be hard to imagine without his puffy features.

Under Minnelli’s direction it becomes a fascinating study of a man destroyed by the 50s success ethic, left broke, alone, and slightly insane in the end.

Miraculously, De Niro and Grodin turn this sow's ear into a plausible vehicle for a buddy movie, and thanks to both of them, this movie springs to life.

Brilliantly conceived and competently executed.