Based on a true story, the movie was nominated for an Oscar as best foreign film; some might castigate its unabashed sentimentality, but I found myself moved, especially when I recalled that this was supposedly the war to end all wars.

This is somewhat fuzzy as narrative, but it's a potent mood piece, and its portait of urban loneliness has some of the intensity of "Taxi Driver" without the violence.

A judicious mix of the lightly gory, the generously cartoonish, and the unexpectedly atmospheric makes for action that's scary yet unintimidating.

The third remake of "Invasion of the Body Snatchers" (1956) may not be a patch on the original, but it does have a few things the other versions lack.

Fascinating: supposedly the crooks kept all the cash and jewelry, but their sponsors in the MI5 were really after sexually explicit blackmail photos of Princess Margaret and other aristocrats that were being held by the revolutionary Michael X.

May be derivative, but it's still engrossing, largely because of its appealing juvenile lead.

The action is so relentless that after a while things start to feel hollow, but Rodriguez still seems to believe the moral articulated at the end of the first film -- that keeping a family together is the real adventure.

The film is very proud of itself, exuding a stifling piety at times, but it works as well as this sort of thing can, thanks to accomplished performances by Fredric March, Myrna Loy, and Dana Andrews, who keep the human element afloat. Gregg Toland's deep-focus photography, though, remains the primary source of interest for today's audiences.

Intelligent supernatural drama.

Though the director is Walter Hill, the dominant personality is John Milius, who wrote the story and collaborated on the script with Larry Gross, and despite some narrative stodginess in spots, Milius’s sense of warrior nobility and his talent for writing juicy parts for actors serve the picture well.

Uekrongtham handles the material with reasonable restraint, and you can't help but cheer on the hero.

This carefully observed film has lots of heart.

Despite the mostly static setting, director Eytan Fox keeps this 2002 Israeli feature surprisingly lively, gracefully balancing the various story lines and making good use of an excellent ensemble cast.

Told almost entirely without words and composed largely of detail shots, Hukkle doesn't quite transcend the gimmickry of its concept, but it succeeds as a bravura technical exercise with some truly amazing images.

Rodriguez's evident delight in the form make this a worthwhile piece of eye candy.

The film is equally good in handling the discrepancy between skilled and unskilled parents.

Moss has an acute feeling for structure and juxtaposition and for the quality and sensibility of his friends.

Nothing miraculous, but it's time pretty well spent.

Greene delivers a wrenching performance, and like "Smoke Signals," the film ends with a cathartic, triumphant flourish.

Light years ahead of Randal Kleiser's 1978 original, this 1982 sequel employs the Shakespearean marriage plot so beloved of classic musicals, in which two mismatched couples are straightened out and the songs express the moral distinctions of love and sex.

The overlapping stories pulse with a tidal rhythm, the film's sensibility flowing between serious and wry, and there are memorable turns from Assi Dayan as the waitress's henpecked dad and Tzahi Grad as a cop with a nonchalant attitude toward babysitting.

The rural setting and the loners-banding-together theme are affecting and the supporting players--especially Michelle Williams and Raven Goodwin as two more outcasts--are all superb.

Packed with dialogue and issues, and it’s most provocative when dealing with the dangers of plea bargaining.

As in the original version, the fights are outweighed by existential angst and Buddhist introspection, but the sequence in which a blind swordsman (Tony Leung Chiu Wai) takes on an army of thieves is still gangbusters.

Neve Campbell, who cowrote the story with scenarist Barbara Turner, plays one of the dancers; although her character isn't especially interesting, her story furnishes a minimal narrative thread to hold the rest together.

The humor is a bit dry for my taste, but director Bent Hamer and his actors know what they're doing every step of the way.

Mildly exciting sports-in-prison movie.

Although the last part of the film becomes repetitive and slightly confused, Eastwood manages the picaresque plot with skill, and his visuals have a high-charged, almost Germanic quality. Wales also possesses a touching emotional vulnerability that marks another significant step away from Eastwood's often-overcriticized macho image. All in all, a very creditable film.