Heckerling still has some of the sensitivity she showed in handling actors in Fast Times at Ridgemont High and she has a deft way of illustrating her heroine's fantasies about possible mates without any fuss.

Thoughtful, sexually charged, and sometimes brutal, this Australian drama by director Geoffrey Wright updates the setting of Shakespeare's play but stays true to its themes, offering fresh insight into the characters and verse.

Her (Westfedlt) directing debut is a funny and emotionally credible.

This adaptation of Christina Crawford's memoir about her driven, abusive mother is arguably too good to qualify as camp, even if it begins (and fitfully proceeds) like a horror film. Director Frank Perry, who collaborated with three others (including producer Frank Yablans) on the script, gives it all a certain crazed conviction.

Being taken under Apatow's wing may have been a big career break for writer-director David Wain, but this lacks the sharp personality of some of his earlier movies.

Overall this is an intelligent and thoughtful reading of the play, marred only by the implausibility of Portia.

It's still fun to watch, but the first one was better.

Shiva's voice-over narration and the commentary from academics (all in English) are spiked with gender-studies jargon but illuminate the history of this peculiar underclass, over 1.3 million strong, which is beginning to gather political power.

This family feature from the Christian production company Walden Media is something of a disappointment after its excellent "Holes" and "The Lion, the Witch and the Wardrobe."

This is in some ways my favorite Hartley picture - because it takes the most risks and gives the mind the most to do.

Director Tarsem (The Cell) reworks the 1981 Bulgarian film "Yo Ho Ho" for this stylish fantasy.

The character and plot contrivances are dumber than ever, but this is basically vaudeville, not narrative, and the thrills keep coming.

It's the epitome of an embedded war report, though Rademacher's at-ease scenes with the soldiers have some of the warmth and terse humor of Ernie Pyle's, and there's some hair-raising footage of a machine-gun firefight.

Unfortunately, instead of the usual larger-than-life male figures--Marcello Mastroianni, Harvey Keitel, Bruno Ganz--of Angelopoulos's recent films, we get a distractingly vapid couple who tend to drain the emotional resonance of these extraordinary, ever-shifting tableaux.

Walsh may not have been directly responsible for the structure (the second half is a remake of an earlier Warners melodrama, Bordertown), but his personal response to the material puts it across.

The plot is typical fluff—Kelly and Sinatra join Esther Williams's baseball team at the turn of the century—but the production values are, as always, worth the price of admission.

Without being any sort of miracle, this is an engaging and lively exploitation fantasy-thriller about computer hackers, anarchistic in spirit, that succeeds at just about everything "The Net" failed to--especially in representing computer operations with some visual flair.

Though the movie isn’t much to look at, he (Siegel) gets a credibly dark and pathetic performance from the typically comic Oswalt.

Partly funded by the Humane Society, this gripping documentary by Michael Webber rips the lid off a scandal that periodically turns up on local newscasts but then disappears from public consciousness.

The comedy is extremely broad (with Curtis eliciting almost as many laughs as Schwarzenegger), the action sequences are as well crafted as one can expect from Cameron, and the meaning is as root basic as anyone would wish.

I couldn't always keep up with what was happening, but I was never bored, and the questions raised reflect the mysteries of everyday life.

Roger Corman's 1970 retelling of the story of Ma Barker and her three loony sons in Depression-era America is completely out of control, but the smash-and-grab stylistics are exhilarating.

This deconstructive, minimalist comedy, like his 1990 "A Little Stiff" and 1994 "I Don't Hate Las Vegas Anymore," re-creates events with the vain self-deprecation of one of his role models, Woody Allen.

It's certainly a provocation, with a few funny moments, and for my money it's less phony and offensive than "Finding Forrester."

Francis Coppola's ambitious 1992 version brings back the novel's multiple narrators, leading to a somewhat dispersed and overcrowded story line that remains fascinating and often affecting thanks to all its visual and conceptual energy.

This is the Classics Illustrated version of Kahlo's story--fun mostly for the sets and the clothes.

The lush, emotional scenes are enhanced by the sound track.

Tarantino puts together a fairly intricate and relatively uninvolving money-smuggling plot, but his cast is so good that you probably won’t feel cheated unless you’re hoping for something as show-offy as "Reservoir Dogs" or "Pulp Fiction."