A casually assembled Burt Reynolds vehicle, sloppy and loose in an amiable way.

The outcome is never much in doubt, but Salvadori artfully choreographs the endless table turning, and the Moroccan-born Elmaleh capitalizes on his striking resemblance to Buster Keaton with a similarly comic composure.

Aside from an exhilarating opening and a gruesome climax, the movie isn't all that rich emotionally; all the visual razzle-dazzle winds up serving a pat lesson about people needing other people.

Even as a hagiography, though, it's pretty interesting: Fishbone predated-and outlived-the early 90s "alternative" boom that provided it with a brief marketing hook, yet the band truly embodied alternative music's underground ideal, challenging listeners of all races and musical persuasions.

Mickle's observation of a devastated working-class America is so sharp that the horror elements, though effectively handled, come to feel like an afterthought.

For all its implicit misogyny, the original 1966 film version of Bill Naughton’s play remains durable because of Michael Caine’s career-defining performance as the cockney ladies’ man, not to mention the memorable title tune (sung by Cher) and driving jazz score (written and performed by Sonny Rollins).

Feels a little soft and boomer-indulgent with its 10,000th rehash of the Nixon years and its soundtrack of trite 60s anthems.

Magic vies with technology in this exuberant adventure comedy, which unfolds achronologically in a series of zany, effects-laden vignettes.

This wryly mordant film achieved many firsts for the illustrious father of African cinema.

The characters--their motives at once obvious and obscure--are almost painfully fascinating.

This began as a one-man show, but Lepage has transferred it beautifully to the screen, where its cosmos of ideas hangs weightless.

This adaptation of Robert Ludlum's third and last Bourne thriller doesn't have much story left, so director Paul Greengrass has to keep it moving all the time.

Brian De Palma's 1992 thriller borders on incoherence and irrelevance as plot, but as a chance for De Palma to perform stylistic pirouettes around a void, it's full of sleek and pleasurable moments.

Understated but affecting.

This friendly, briefly exciting story (1998), inspired by John Irving's A Prayer for Owen Meany, achieves a nice balance between caricature and nuanced characterization and even manages not to be cloying.

Ehrlich and Goldsmith carve out their own little place in the canon by focusing on the ethical journey of one man who refused to shrug off his own responsibility for the war and atoned for it with a seismic act of civil disobedience.

Dramatization is often a questionable tactic in documentaries, but by picturing Leopold (Elie Larson) on trial like Adolf Eichmann, Peter Bate adroitly compares the colonial genocide to the Holocaust.

The swashbuckling first hour is superior to the second, which bursts at the seams with backstory, but a rousing climax makes this the most potent piece of agitpop in years.

Structurally and dramatically this is all over the place, but stylistically it's gripping, and thematically it suggests an oblique response to the end of Hong Kong's colonial rule.

By the end the story is more satisfying than you might expect.

The more interesting woman is Epper, who comes from a highly respected family of stunt doubles and at 62 shows no signs of slowing.

Writer-director Raymond De Felitta has crafted a pleasant, low-key script that's full of small surprises, nice turns, and engaging, naturalistic dialogue, and he keeps the big, emotional family scenes, which often render this sort of material cliched and hackneyed, to a minimum.

Solid, agreeable entertainment, this basically consists of plentiful gags and lighthearted satire spiked with Dante's compulsive taste for movie references, humorously scripted by Charlie Haas but without the darker thematic undertones and the more tableaulike construction of the original.

Vulgar, spirited, and neglected director George Sidney meets his match with this 1964 Elvis Presley vehicle: Presley, Ann-Margret, and Las Vegas itself are all ready-made for his talents, which mainly have to do with verve and trashy kicks.

In archival photos Petit seems to float between the towers, a tiny black figure against a vivid blue sky; the images are all the more poignant for the unstated fact that Petit is still around when the buildings aren't.

The sepia-toned palette gets a little wearying, but the dialogue is hilarious, the violence is crunchy, and cameos by Tom Waits and topflight Brit character actor Michael Gambon are worth the ticket price alone.

This 2005 British feature by writer Anthony Frewin and director Brian Cook, both former Kubrick assistants, uses Conway's unlikely saga to mount an appreciative send-up of a certain style of gay extravagance.

It's especially good in its handling of actors and its sharp feeling for characters who can't even describe their own problems, much less analyze them.