An engaging and generous profile of the fascinating folks who have chosen to live at the end of the world.

It is historically evocative, visually transporting and an exuberant romantic comedy that adheres to its source while spinning its own artful energy.

Dazzles us with computer-generated animation that has never looked quite so boldly exotic or shimmeringly beautiful.

Throughout, it's clouded -- for me at least -- by a nagging sense that it's straining too hard to build the media clash into more of an historic event than it was.

It's all about Guevara's education as a revolutionary and his development as a leader in the jungles and in battle.

Scott owns the film from scene one.

Sometimes jaunty, often dark, and very stylized. In other words, it's a perfect fit for director Tim Burton.

The poetic justice strains the verisimilitude of a film otherwise grounded in a tough reality, but there is a guilty satisfaction to it all.

Comes together with a wry sense of humor, a total lack of gratuitous movie nonsense and a graceful dignity that allows the humanity of his characters to shine through in a very special way.

Bruckner's restrained performance reveals a girl drowning in her own lack of self-esteem. When she finally comes up for air, she shatters the surface with a force that, in the hands of a less thoughtful director, could send her spinning down the melodramatic road to ruin.

This is a spare and plainly told story, and it is that plainness that gives it so much punch.

Delivers the expected adrenaline-driven thrills with a fresh eye and a refreshing attitude.

Has the sensibility of a Hollywood "woman's picture" of the '40s -- the weepie saga of a married woman trapped in an untenable situation.

Cronenberg's most disciplined exploration yet of that shadowy realm: the world refracted through the prism of a schizophrenic mind.

An endearing comedy that could well end up being one of the year's big hits.

The camera drinks in the angles, curves and textures, and the way it all shapes the light as if it's yet another of Gehry's non-traditional materials, and Pollack creates his own video sketchbook of Gehry impressions.

It works because it never tries to be more than the very personal memory piece it is.

Zwick's narrative skills keep us hooked on the story, and the first-rate production values and imaginative use of locations (it was shot in Mozambique) give the film an enthralling scope and epic sweep.

This great Elizabethean masterpiece comes alive in a rich cinematic version that proves the past 400 years have done nothing to dim its uncanny power to mirror the human condition. [18 jan 1991]

In the face of intolerance, Two Family House lovingly celebrates the triumph of love and acceptance over prejudice.

The film below it is such an entertaining and poignantly bittersweet take-down of a good man's midlife crisis that the translation still works like a charm.

Not quite up to the exalted level of the two predecessors ("Toy Story" and "Toy Story 2"), be assured it's still the most eye-popping and thoroughly entertaining animated film to come down the pike so far this year.

It's a partisan campaign film, of course, but a subtle one.

It's bloody brilliant.

Blanchett is, warts-and-all, letter perfect.

Many will find the subject matter disturbing, but it's clearly one of the holiday season's richest and most daring movie entries.

Margaret Brown's honest and non-judgmental film captures the artist's high and low points, from early appearances on regional television shows such as "Nashville Now" to the drunken and disorderly performances that defined his later years.

You don't have to be a teenager to appreciate the raunchy humor and the uninhibited overkill of Seth's porn-obsessed chatter, though it probably helps to be a guy.