This is full of talk in the European art cinema tradition: intellectual conversations (often in multiple languages at once), gentile dinner conversation with an international all-star guest list.

Unashamedly positive look at the rise of the '60s counterculture.

Haggis drops exclamation points after his symbolic gestures, but in the rush to drive home his message on the confused mission in Iraq he offers a queasy revisionism that all but denies the legacy of Vietnam. Considering Deerfield is a Vietnam vet, it feels doubly false.

the film is well cast and the script is mostly faithful to the novel. Visually, it's probably the most accurate evocation of Hardy's world ever put on film. [01 Nov 1996]

Cunha and Silva, both featured in 2002's similarly themed "City of God," have been playing these roles since they were 13, and the rapport between them is electrifying. Much of the sweetness of the film comes from what they bring to their roles.

Contrary to its title, Virtual JFK is less a counter-history of the Vietnam years than a tribute to John F. Kennedy's stubborn resistance to a military that pressured him to go to war on six occasions during his short presidency.

Looks to be this season's family animal comedy.

Like Lurie's previous two films, it's also simplistic and somewhat muddled.

It's essentially a one-joke situation, but screenwriter Charlie Kaufman and first-time director Spike Jonze definitely make the most of it.

Kassovitz directs with an unrelenting intensity that helps you to suspend disbelief almost all the way to the credits.

It all feels like a performance for the camera: von Trier as madman producer taunting the elder filmmaker.

Finally becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s.

As dazzling as they come, a visual pageant of strange undersea creatures hunting and scavenging and floating across the screen.

It's well-written, well-cast and skillfully directed in every scene, and, at the same time, it doesn't come together with enough impact to be hugely memorable.

Either you're in the mood for a sweet and simple Christmas movie or you're not. If you are, then Perfect Holiday should fit the bill nicely.

The messy emotions and illogic of human nature defines this drama.

It's aimed squarely at a young dating audience, and is not likely to be hugely captivating for anyone out of that demographic.

Bounces between funny and chilling.

Has difficulty reaching a resolution. In the final half-hour, the film becomes almost hysterically out of sync with its prior quiet reserve.

A teary appreciation of the value of a good teacher, the joy of music and the payoffs of discipline and hard work.

Imagine the sequel to "Clueless" reconceived as a peroxide "Paper Chase" and punched up with a valley girl version of "My Cousin Vinny" for the climax.

The movie whips itself into being a surprisingly effective love story. [16 Aug 1991]

Whatever it is, it's totally Kubrickian: Its scenes have both an edge and an extraordinary visual perfection that could come from no other filmmaker.

It scores few points for originality, but it's a fuzzier, less pretentious and more enjoyable movie.

Zeffirelli creates a lovely, perfectly composed and lyrical look at life under Mussolini's black-shirted fascist regime. But despite danger on every corner in Italy, there is a tinge of rose-colored sentiment that blurs the events yet lends to the making of an affecting dramatic period piece.

Surprise! After a clumsy opening, Guess Who goes down very smoothly. Its cast is appealing, its script is often clever and imaginative.

Silverman is funny and, more often than not, so is the film.

It assumes considerable knowledge of his life and times. But, with even a little of the familiarity it demands, the movie is something special.