Im distinguishes what might have otherwise been a standard Hollywood biopic through his use of exquisitely composed shots that could have been imagined by Jang himself.

Tender Mercies is an episodic gem that offers little in the way of action or melodrama but gets by on fine performances (particularly from Barkin and from Duvall, who does his own singing), atmospheric cinematography, and spare, unglamorous writing.

Hurt gives a tour de force performance, masterfully conveying emotions while unable to use his face or even much of his voice.

In a rare and inspiring example of the way art can both reflect and alleviate human suffering, photojournalist Zana Briski's wrenching documentary traces her valiant use of photography to help children trapped in one of the most wretched places on earth.

There's not much to THE FRESHMAN beyond the spectacle of Brando gently spoofing his most famous role, but that's a pretty sizeable asset. Broderick is his usual charming self, and there are occasional moments of inspired whimsy or absurdity: Brando on ice skates, Bert Parks delivering a rousing rendition of Bob Dylan's "Maggie's Farm."

Spielberg lacks his usual intuitive affinity for his story material; consequently the film is a bit clunky at times. There are some unfortunate slapstick comic relief sequences and a few of the characterizations are also much too broad and cartoonish.

Bigelow, who codirected THE LOVELESS with Monty Montgomery in 1982, and coscreenwriter Eric Red (THE HITCHER) demonstrate a keen understanding of the history of American cinema and create a unique film that explores the conventions of the vampire movie while moving it from dank European castles to modern-day Southwestern America.

A gentle film that metaphorically examines the artist's relationship to her art, BABETTE'S FEAST is the sort of story that one cannot help but find uplifting.

The ever-charismatic character actor George Coe stands out as a small-town jeweler grateful for a late-life affair.

Froemke and Dickson's film opens a window onto rural poverty so dire it's almost inconceivable that it exists in 21st-century America.

John Walter's documentary suggests that Johnson, who made no distinction between his life and his art, designed every detail of his own mysterious 1995 suicide with the same whimsical care that went into his painstakingly assembled pieces, and provides an engaging overview of Johnson's eccentric career in the process.

Ejiofor's subtle, infinitely humane performance is the invisible glue that holds everything together and Chris Menges's darkly shimmering cinematography lends the story a gritty, coolly seductive glamour.

Though overlong and repetitive, Hirsch's film is vitalized by the same music that helped keep the revolutionary spirit alive.

The strangest thing about writer-director Paul Thomas Anderson's unusual romantic comedy is how much of it is based on a true story.

A hilarious mixture of Errol Flynn swashbuckler and Monty Python send-up...When it comes to pleasing both kids and adults, you can't do much better.

The only silent film to win an Oscar for Best Picture of the year, WINGS was a spectacular tribute to WWI combat pilots.

An intensely internalized portrait of external pandemonium, a slippery, insidiously haunting work of poetry rather than brilliantly realized pulp.

TROUBLE IN MIND is offbeat, unique, and interesting, and for that alone it should be noted. It is a shame that none of the elements ever come together, so this film winds up being a beautiful, atmospheric mess.

Director James Foley and cinematographer Mark Plummer deftly conjure the sense of stifling containment that drives these characters to drink or sin, but Robert Redlin's screenplay fails to fully animate their personalities. Patric gives a tremendous, smoldering performance, but Ward fails to convey the mysterious radiance of a convincing femme fatale. Dern rounds out the unappetizing triangle with an unpleasant performance, proving himself a worthy contender in the Dennis Hopper/Harry Dean Stanton creepstakes.

Although the story makes for a movie that is often slow going, it is also a beautiful and evocative film fueled by an excellent performance from Davis and Peggy Ashcroft.

An intriguing Hitchcock thriller which probes the dark recesses of a man's mind through psychoanalytic treatment and the love of a woman.

Though extensively fictionalized -- Sorowitch is loosely based on the notorious, larger-than-life forger Salomon Smolianoff; Herzog on SS officer Bernhard Krueger, after whom the operation was named.

With a third-act twist that outdoes that initial revelation, the film turns out to be a thoughtful exploration of paternity and responsibility. Much of the film's success lies in Bier's sensitive direction, but credit is also due to the fine cast, particularly Mikkelsen.

An ancestor of director Wenders's 1984 film Paris, Texas.

Director Carl Franklin, who also adapted the screenplay from Walter Mosley's prize-winning novel, isn't particularly concerned with the machinations of mystery plots. Nor is he seduced by the temptations of noir visual style (although Tak Fujimoto's camera work is plenty stylish).

Truly in a class by itself.

Fascinating documentary.

Powerful stuff from writer-director Li Yang that's both an uncompromising indictment of the human cost of China's evolving market economy and an nail-bitingly suspenseful thriller.

Nothing about it is pretty, with director Mark Robson (who'd already helmed the powerful CHAMPION) moving the story along at a frenetic pace and Burnett Guffey's stark black-and-white photography lending a grim feel to the movie. All of the performers are excellent, especially Bogart, in what would be his final screen appearance.

Though it's bogged down by a stiff cast, a yawn-inspiring conventional romance, and a sappy religiosity, it remains a landmark in the history of special effects.

This film is a fairly well-balanced effort, and if you're in the mood for an evening of obvious sentiment, this boy-and-his-dog film works quite well.

On Dangerous Ground is tautly directed by that master of stark dramas, Nicholas Ray. Ryan and Lupino give sterling performances but the story line is broken up into two distinct segments, which lessens the film's impact and cohesiveness.

This is absolutely not a film for all tastes, but it's a masterpiece of pitiless power whose audacious, ambiguous climax strikes a note of insane romanticism as haunting as it is perverse.

Ramsay's second feature is an extraordinary adaptation of fellow-Scot Alan Warner's acclaimed novel.

Martel can barely contain her disgust, and like Bunuel before her, she knows just when to cut the laughs and go straight for the throat.

JUNGLE FEVER offers a host of well-acted, thought-provoking dramatic situations, wrapped in one mess of a story.

The good news is that it comes closer than any of its predecessors, hitting the mark or coming close to it on almost all fronts. With "Harry Potter and the Deathly Hallows" being split into two films, the final installment stands an excellent chance of getting it right.

Blue-ribbon acting from both the four- and two-legged performers.

This excellent film, which is both uplifting and troubling, also makes crystal clear what Peter gradually gives up in order to fit in as best he can: His culture.

Ultimately, the material is so familiar that it's hard to work up any enthusiasm for another trip though the seamy underside of glittering gaming life.

Hadzihalilovic succeeds brilliantly at crafting a meaningful enigma that somehow grasps the essence of adolescence, but only grows more mysterious with each revelation.

A pleasant, mildly inspirational movie but hardly worthy of all the accolades it received.

Mamet has created a suspenseful, psychologically complex film that constantly plays tricks on the viewer as it draws him into its milieu of insightful deceit.

Screenwriter Richard Matheson did a fine job of adapting Poe's rather limited (for films) short story by saving the dungeon sequences for the climax and then creating a rather interesting plot line to lead up to it. One of Corman's and AIP's best.

Acclaimed cinematographer Jan De Bont's directing debut is a mindless, implausible, and thoroughly gripping adventure movie.

Detective Story is methodical in its depiction of the sometimes traumatic events of one day in a precinct but the marvelous quirks and shadings of these characters create highly exciting drama.

She's an adventurous, occasionally reckless filmmaker who deploys a full arsenal of cinematic flourishes, but Lemmons' lack of restraint gets in the way of her storytelling.

A solid, surprisingly modest spy thriller, enlivened by Sean Connery's screen charisma and occasional hints of the extravagance to come.

The film probes the pitfalls of growing up, tackling such subjects as sex, boozing, and fighting--three areas the Disney folks have stayed clear of in the past. Dillon, though occasionally annoying, turns in a decent performance, as do Jim Metzler as his brother and Meg Tilly as his girlfriend.

Smith relies on the audience’s memory, anger and sense of community to explore a wide range of conflicting facts and emotions. The ambivalent trust forged between performer and audience as they journey through Newton’s story is kinetic and revealing of both sides.

De Sica handles his fantastic material subtly and with simplicity, yielding an original mix of sharp satire and poetic fable that extended the limits of the neo-realist style.

Terrific, crackling dialogue, especially in the slangy, machine-gun mouth of La Stanwyck.

"Masala" refers to a mix of varied spices, and one of the strengths of MISSISSIPPI MASALA is its own collection of colorful characters.

The performances are mostly good, and the direction and editing work wonders in the tight gray interiors of the juvenile prison. Not for everyone, but worthwhile viewing for the not-easily-shocked.

An exceptional film.

Everyone in the movie seems to have a comic moment, because the laughs are piled on top of each other. Call it rude, crude, and lewd, but you also have to call it very funny.

Hrebejk's film remains clear-eyed and satisfyingly complex right to the bitter end.

Just when it seemed Albert Brooks had gotten his creative energies under control, along comes this intermittently funny, often overdone comedy that could have been a classic.

Paper-thin.

Under the beautifully appointed costumes and to-die-for interiors is Breillat's preoccupation with female sexuality and desire, all centered on a blistering performance from a perfectly cast Asia Argento.

You won't see anything quite like it from any other filmmaker working today.

Donen's direction here is a trifle trendy and frantic, with sometimes jarring results.

Beesley's film is perfectly in sync with the Lips' unique vision.

Busey did all his own singing and playing, as did Martin and Stroud as The Crickets, providing a welcome sense of realism. Busey's performance is terrific.

Anderson strikes a near flawless balance between looseness and structure, and indulges the occasional flight of cinematic fancy without undermining the movie's emotional integrity.

A beautifully filmed, nicely philosophic and rather old-fashioned western with an elegiac tone, well directed by Australian director Fred Schepisi (Breaker Morant), Barbarosa features uniformly strong acting, with Busey and Nelson making a good team.

Director Martin Brest has allowed the actors to improvise, and their resulting interaction is more realistic, funny, and surprising than that of any buddy film released in the last several years.

If you don't already have a handle on the complicated conflict at the heart of Darfur's ongoing genocide, you probably won't come away from this harrowing documentary with any comprehensive understanding.

Filmed at considerable danger to cast and crew, MOBY DICK, under Huston's strong direction, is one of the most historically authentic, visually stunning, and powerful adventures ever made.

With its touching story and stylized treatment, ALL THAT HEAVEN ALLOWS is one of Sirk's finest films.

The climax is a workmanlike rise of psychological terror, but the whole exercise looks self-consciously careful.

Errol Morris' characteristically distanced documentary is empathetic without being especially sympathetic.

A superb performance from Torreton, easily one of the finest actors working in France today.

Given the number of characters involved and the fact that the film flashes back and forth over a 40-year period, the film flows beautifully, thanks in large part to excellent casting and Kate Williams's fluid editing.

Chereau boldly risks alienating his audience by presenting serious illness and all its attendant indignities with an unflinching clarity that's becoming a hallmark of his work.

Nearly 75 years after the fact, the matter still hasn't given up all its secrets, but Denis' film comes close to a definitive, deeply disturbing account.

It's intriguing stuff, but Curtis overplays his hand when he underplays the existence of any real threat (Madrid? London? Amman?), proposes that Al Qaeda is a fiction and risks undermining the credibility of an otherwise compelling argument.

Bielinsky's "Nine Queens" was a complex romp through the machinations of high-stakes con artists, but this intricately plotted mystery ventures into darker psychological territory and never misses a step.

As you'd expect from Disney, the film's a technical tour de force, with flawless stop-motion animation and some imaginatively realized live-action sequences. What's surprising here is how much of Dahl's misogyny is allowed to surface. James's elderly aunts are unconscionably grotesque.

[An] effective but uneven work, which chronicles a woman's search for self.

Though Costa-Gavras clearly has a political axe to grind, he manages to do so without haranguing the viewer, keeping the film's focus on his characters and masterfully building tension as the story moves toward its stinging resolution.

An intoxicatingly beautiful, maddeningly elliptical and utterly enthralling meditation on the fleeting pleasures and haunting aftermath of doomed romance.

A marvelous black comedy full of wit and journalistic wisdom in the grand and capricious style of Hecht (he and Charles MacArthur co-wrote The Front Page), this film is all the more stunning thanks to the outrageous and hilarious performance of super comedienne Lombard.

A giant leap forward in Stephen Chow's ongoing assault on Jackie Chan's status as reigning balletic clown-master of martial-arts mayhem, this extravagantly nutty crime comedy is a work of some kind of genius. Not everybody's kind of genius, to be sure.

Curiously empty and instantly forgettable.

Van Sant casts a gently hypnotic spell that is not easily forgotten.

From the opening lines to the epilogue (one of the film's few misfires), this taut first feature from TV producer and novelist Henry Bromell sustains a taut mood of unease and isolation, and the ensemble performances (TV starlet Campbell's included) have the qualities of the highest-caliber stage work.

Brisk, glossy and gloriously art-directed, Scorsese's lavish biopic is a pop trifle, engaging but not compelling.

For all its harsh realism, the film flows like a dream, albeit a highly unpleasant one.

This intermittently interesting symbolic tour through European history once again places ideas over aesthetics and technique.

Not quite as heart-wrenching as the original version, this remake is still pretty good and does benefit from being filmed in color.

A murder mystery wrapped in an experimental portrait of life in a rural Hungarian town, writer-director Gyorgy Palfi's engrossing feature debut is a breathtaking feat of filmmaking.

Powerful, humorous, and touching. (Review of Original Release)

Shattering social and sexual conventions, Last Tango in Paris stands as one of Bernardo Bertolucci's finer achievements.

Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast do still haunt one's viewing experience.

The Shootist is an uneven, elegiac tribute to a great career. The script leaves a lot to be desired, but is compensated for by some fine performances (especially Wayne's), Bruce Surtees' poignant cinematography, and Don Siegel's carefully paced direction.

Kubrick's liberal, anti-authoritarian reading of Anthony Burgess's very Catholic allegorical novel is morally confused but tremendously powerful... No serious moviegoer can afford to ignore it.

To better capture the extremity of Dengler's ordeal, Bale once again underwent the kind of dramatic weight loss that shocked audiences of "The Machinist," but he's downright plump next to the emaciated Davies, who looks like Charles Manson in the end stages of a hunger strike.