Surprisingly heartfelt tale.

Offers a rare glimpse into the hermetic world of the Satmars.

Eason balances the clichés of a fairly standard story with convincing realism and a powerful momentum that never flags.

Taut, if occasionally silly, the film is hampered by ideological confusion. Director Peter Hyams doesn't seem to know if he's making a reactionary Death Wish" clone or a liberal problem film.

This adaptation of Robert Louis Stevenson's classic adventure novel features plenty of not-too-menacing pirates, and exactly the sort of schtick one expects from the Muppets. It will provide an entertaining diversion for children and adults.

while many reviewers were put off by Splinter's rheumy-eyed philosophizing and the Turtles' ninja antics, the movie's youthful target audience squealed with delight.

The highly polished production is well paced and imaginatively directed, although the happy union of prince and pauper is harder to swallow in 1981 than it would have been in 1931, when cinematic escapism brought relief to depression-era audiences.

Brimming with fun and a few great ideas, it's little more than a foggy memory the minute it's over.

This DIY oddity is both quirkily funny and strangely poignant, and does justice to the same themes that underlie the far more lavishly produced "A.I.: Artificial Intelligence."

Actress-turned-writer/director Asia Argento's angry, outspoken, semi-autobiographical rant of a film is strident and occasionally juvenile, but it packs an undeniable wallop.

Underlying the slapstick, however, is an extravagant parody of American culture--bad taste, bad manners, the gushing sentimentality of Lloyd's daydreams, or the classic westward road trip, complete with diner scenes and archetypal rednecks.

While the film may drop a few of the novel's more disturbing moments, it still travels some emotionally rocky territory, and each of those actresses -- particularly Alison Lohman, who carries most of the movie on her young shoulders -- turns in a first-rate performance.

Cryer does an admirable job of pulling off both ages, and Coogan is even better just playing one. Director Bob Giraldi gives it all a good deal of energy, especially in the first part, shot in a gray and ominous New York that takes on new menace under Giraldi's slick visual style.

The second pairing of Clark Gable and Jean Harlow is a steamy drama of infidelity, set against an exotic background and peppered with dialog and situations that pushed the boundaries of Hollywood self-censorship as far as they would go.

John Carlos Frey's tough social drama has a slightly sensationalistic edge, but the disturbing fact is that all too much of his worthy film hews closely to the real-life experiences of undocumented immigrant workers.

It's a complex new approach toward putting memory to tape, and the result can be at times too theoretical, too personal and too opaque, but it's a consistently challenging work that's often sharply poignant.

Would be as tedious as a home movie if the couple, Edward DeBonis and Vincent Maniscalco, weren't gay men and their nuptials not colored by the clash between their personal faith and their rejection by the mainstream church.

Only Lopez, the film's ostensible star, seems to be struggling; she's a lovely dancer, but the only reason Lopez's expressionless performance isn't this sweet picture's downfall is that the script makes so few demands on her.

It's strictly for the kids, and they'll be tickled.

Meeske does offer insight into a way of life that may be finally gone for good.

Leaving Las Vegas is special. A courageous plane wreck of character study.

The acting is superb.

It's hard to believe that this oddly mesmerizing film, set in large part in the vast subway system that snakes its way through Manhattan and its outer boroughs, wasn't made by a native New Yorker.

If THE REF lived up to its early scenes, it would be a very funny movie indeed, but it soon sinks into a blandly commercial rut that slowly drains away what bitter energy it has.

It's not perfect, but PERFECT WEAPON at least furnishes action aficionados with a hero who has a life beyond the floormat of a kung fu school. Speakman may augur a new breed of action hero--a 90s kind of fella who's survived both martial arts classes and sensitivity training sessions. Men will be enthusiastic over his fast footwork; women will be impressed by his ability to carry on an intelligent conversation.

Aronofsky has given us a well-acted, gorgeously overwrought and luridly entertaining exploitation flick -- a midnight movie for future generations.

The film is heavy on character and atmosphere and light on action, though what does happen is so bizarre as to verge on the ridiculous.

(Rohmer's) simple script and methods capture a sense of place and character that eludes far more conspicuously stylish directors.