This is a subdued and sometimes subtle exercise in ghostly doings, going against the horror-movie grain by relying on quietude and understatement.

The same story was told vastly better in the 1949 melodrama "The Reckless Moment."

The most startling aspect of this slow-building horror movie is how unexpectedly it morphs from a quietly romantic suspense yarn to a flat-out tale of terror that may have some viewers hiding under their seats.

This isn't a Ferrara classic like "King of New York," but even his less- memorable pictures carry an eccentric kick no other director could duplicate.

Goes on much too long, stretching a modest story into a marathon that outlasts its welcome by about 30 minutes.

The expanded "Redux" is even more resonant - partly because of its added material, and partly because the passage of time has increased the film's value as a key cultural document of the Vietnam War era and its aftermath. It's a movie not to be missed.

Burton is an imaginative director with a distinctive artistic vision, but his originality is nowhere to be seen in this by-the-numbers retread.

Its dark-toned cinematography by Henri Decaë still packs a wallop, and the screenplay has a refreshing sense of humor.

This atmospheric story unfolds through leisurely shots that invite us not just to watch the characters, but to live and breathe along with them.

Maglietta gives a magical performance in this lightweight but flavorsome comedy.

Contains quite a few grisly and ghastly images.

Gries and Morris act up a storm as the optimistically named Sunny Holiday and his long-suffering manager.

Enough odd twists to be mildly interesting.

Falls flat on screen, weighed down by far-fetched plot twists.

Cameron's imaginative directing and screen-shaking performance give this rock musical plenty of oomph.

Has social, psychological, and ultimately mystical overtones that raise it leagues above most other teen-centered comedies.

The screenplay is so stale that even fans of the previous "Jurassic" installments might think this is one clone too many.

Its main value is the prolonged look it gives of the late artist Basquiat.

Cinema's greatest surrealist is at the peak of his powers in the last movie of his unparalleled career.

Witherspoon fills the screen with bright-eyed bounce. The rest of the cast is as forgettable as the flimsy story.

The movie's somber message is worth heeding, and the acting is mostly excellent.

This sort of cinema is as dehumanizing as the aliens who serve as its intergalactic bad guys.

The cinematography is gorgeous from first frame to last, but the story occasionally rings false.

The plot pants so hard -- that it makes less sense than the average pet-food commercial.

Roddam's minor but imaginative 1979 movie.

Be warned that the violence-prone Spielberg of "Saving Private Ryan" and "Schindler's List" is also on display.

Kicks off the Oedipus theme that gallops through the story.

The story's emphasis is on action, but there are some sensitive moments and interesting ideas along the way.