Director Curtis Hanson keeps the hugely complicated story zooming along the boulevard of broken dreams without losing sight of the details that make the trip worthwhile.

It can be funny, but the humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food), and Coppola shamelessly invites us to laugh along with Murray's character, who, believe it or not, thinks it's hilarious when his hosts get their "r"s and "l"s switched.

The manic energy of the lively and outrageous opening sequence sets a tone and pace the film can't maintain.

This sweet film is a genuine treat, even if there's little plot, no antic mayhem and its 90-minute running time is mostly consumed by nonstop, sometimes pretentious dialogue.

An excellent guide to some of the highlights of post-World War II Italian cinema.

Pekar's autobiographical chronicle of day-to-day banality is a rich, if dingy, tapestry of ordinary life in all its infinite, homely peculiarity, which filmmakers Sheri Springer Berman and Robert Pulcini bring to uniquely eccentric life.

Such a glorious cast, deployed to such trivial effect!

While the story is thin, Clouzot uses his immense skills to raise the picture above the standard for the genre.

The film has some of Disney's most spectacular animation yet -- particularly in the wildebeest stampede -- and strong vocal performances, especially by skilled Broadway comedian Nathan Lane. However, it suffers from a curiously undeveloped story line.

The story is simple enough for young children to follow, and the computer-animated images are both bright and surprisingly complex. Adults won't find the action heart-stopping.

This second installment is heavy on battle sequences, which will thrill some viewers more than others.

Simple but deeply touching documentary.

Literally, a slice of life.

They're answers that will either earn your respect, or further damn him as the architect of an American nightmare.

A bold, painful memoir that finds an innovative middle-ground between conventional documentary and a homemade, home-movie collage.

On the surface, nothing really happens, but to call it a nonevent would be to miss the point entirely.

Kristin Scott Thomas is the film's revelation. She takes center stage as a smart, fearless woman who's utterly irresistible.

Nicole Kidman does the best work of her career in a character that seems to fit her tighter than pantyhose. Swathed in camera-friendly pastels, she's dead from the neck up (a scene with uncredited George Segal confirms that) but she's got legs like scissors, ambition like a knife, and a will of pure steel.

A mighty strange movie, one that updates Chaucer's story to wartime Britain.

The result is a vivid record of live acts whose rough-edged immediacy is an integral part of their appeal.

Though full of atmosphere, mood, and attitude, THE FABULOUS BAKER BOYS is all dressed up with no place to go.

The writing is sharp and often blithely cynical, although not above using a shooting star to put a lump in the throat. The tone, however, is at times dangerously uncertain.

Often confusing, especially during the first half, but Gabin and Ventura are well cast as hoods.

Thought-provoking but proceeding at a crawl, the film suffers from performances that are virtually all pitched to the same note of existential ennui -- thank goodness, then, for Rush, who's arrives like a wake-up blast of compressed air.

Pure melodrama, but stylishly done, with finely tuned performances played out against meticulously realized settings.

Love Story is actually better than Segal's previously released best-seller (written from his screenplay in order to promote the film). But then that's not saying much.

Louis Malle's somewhat overrated My Dinner With Andre is a filmed conversation between two friends, and whether you find the movie profound, pretentious, or entertaining will depend on how interesting you find the talk.

Often thrilling, if overwhelmingly brutal, trio of interconnected short stories.