The plot is suitably slight, allowing plenty of room for the barrage of jokes that roll off Dangerfield's tongue. The result is unsophisticated, unilluminating, unambitious, and hilarious.

An entertaining thriller that stumbles occasionally on overlong dialogue sequences.

A funny if somewhat retrograde film.

Breezy is a small, personal film that allowed Eastwood to work with talented actors and experiment with directorial style. If he had chosen a more intelligent script, he could have produced a minor classic.

Fairly lackluster Disney effort is saved by Niven's great performance.

If you're a Martin fan, you'll love All of Me; if you aren't, there's still enough fun in spots to make it worth your time.

An offbeat Italian western that has a sense of cocky fun about it.

This is the sort of yarn that Runyon told well and often: hard-hearted wise guys melting when they have to put aside tough talk and show their true emotions. It'll have you showing your emotions, too.

Unlike many first-timers (especially during the indulgent late 60s), Pakula uses understatement, avoids cinematic tricks, and carefully guides young stars Minnelli (who was nominated for an Oscar) and Burton, who was making his screen debut after starring on Broadway for three years in the title role of "You're a Good Man, Charlie Brown."

Though the script is a bit dense and the film slightly overlong, it's exciting and engrossing on all levels.

As in the first, THE CURSE OF FRANKENSTEIN, he concentrates upon the figure of Cushing as basically a well-meaning doctor who runs a charity hospital but is the victim of undue prejudice. The gory effects, however, come out the same, with this one surpassed in its shocking effects perhaps only by Warhol's version.

This handsome, elegant and restrained fable about love, artifice and power in fin de siecle Vienna is lavishly imagined and yet oddly airless.

Even if it doesn't up live to its inspired beginning, Mike Judge scores something with all the marks of a workplace cult classic with his first big-screen, live-action outing.

If one masterpiece were to emerge from the recent glut of generally good quality Japanese horror movie, this chilling apocalyptic ghost story from Kyroshi Kurosawa is it.

No, it isn't as magically enchanting as the 1952 children's classic by E.B. White, any more than a museum-shop print of La Giaconda is as mysteriously beguiling as Leonardo's original. But this respectful, live-action adaptation of White's gentle tale about an undersized pig, a clever spider and the everyday marvels that too often pass unnoticed is a charmer nonetheless.

A must-see for horror fans, with more than one viewing recommended.

Levy and Guest train a glaring spotlight on the self-absorption, vanity, delusions and histrionics of the movie community, but clearly love them even at their silliest.

Craig Brewer's sweaty, feel-good story about a small-time pimp and dope dealer making one last, desperate grab at his long-deferred dream is driven by longtime supporting player Terrence Howard's subtle, go-for-broke performance as Memphis mack Djay.

The film is dazzling in its use of color and odd shapes and is enhanced by the distinctive voices of Ed Wynn as the Mad Hatter, Sterling Holloway as the Cheshire Cat, Jerry Colonna as the March Hare, and Verna Felton as the Queen of Hearts.

Courtroom dramas that favor the courtroom over the drama are always in danger of eye-glazing dullness.

One of the first American films to present the philosophy--rather than just the warmongering--of fascism as a danger, WATCH ON THE RHINE is rather dully helmed by stage director Shumlin, who too often fails to avoid the static pitfalls of so many play adaptations.

From its ominous opening to its spectacular climactic stunt, the hypnotic precursor to director Tom Tykwer's "Run Lola Run" is a quieter but creepier affair.

Characters' eccentricities feel contrived and the wackiness seems forced, though the film's amiable ambling does keep the viewer intrigued, if not charmed.

The conclusion, clearly meant to feel ambiguously poetic, is distinctly unsatisfying.

This savvy adaptation of Robert Ludlum's action-clogged 1980 bestseller benefits from the fact that the filmmakers were smart enough to throw out most of the book's preposterous spills and thrills and concentrate instead on its intriguing central character.

This hockey movie scores, thanks to director Gavin O'Connor's ability to skate that fine line between inspirational and melodramatic and achieve a satisfying balance.

It's just plain exhausting to watch the admirably game cast members running around like headless chickens in chic period clothes, surrendering their dignity to the task of navigating the plot's frenetic contrivances.

THE LONG RIDERS is one of the last great westerns made in America, directed tautly by Walter Hill from an excellent, well-researched script. The cinematography by Ric Waite is magnificent, the period is beautifully captured, and Ry Cooder's outstanding score nicely incorporates folk music of the era. The whole feeling of this film is one of antiquity, an atmosphere marvelously created by Hill and enhanced by a superb cast.

Surprisingly, it works: The overwhelming natural expanse of the New Mexico desert is perfectly balanced by the psychic space Charley and Arlene create - the space where all the real action takes place.

With both Lorre and Price having a grand time poking fun at the material and themselves. The final story has several memorable moments.

A chilling corporate thriller with an intriguing mystery on the surface and a deeply troubling idea at its dark core.

Bordering on parody, but too sleazy to be very funny, this mad slasher film involves a cleaver-wielding psycho who lurks in the halls of a Boston university.

If the very idea of another movie about a bunch of overprivileged thirtysomethings and their relationships has you reaching for your revolver, Nicole Holofcener's winning debut feature will come as a pleasant surprise.

This sequel may be a bit thin on plot, but who cares when Jackie Chan is at his daredevil best?

This is adult, intelligent stuff, marvelously shaded by the amalgamation of talents.

All shook up and enjoyably bad, JAILHOUSE ROCK captures early Elvis in all his leg-quivering, nostril-flaring, lip-snarling teen idol glory.

Avrich's colorful account of Wasserman's career starts out looking like a puff piece, but quickly reveals a refreshing willingness to delve into the dirty side of a glamorous business.

Carries an important and timely reminder about the fate of torture victims, so deftly wrapped within a touching and beautifully acted melodrama that the result is the furthest thing from a didactic message movie.

The subject may be familiar to those who happened to catch the 1998 documentary "Port of Last Resort," but this remarkable true story certainly bears repeating.

Friedkin's Sorcerer is just as gripping and spine-tingling an adventure film as The Wages of Fear and, at times, surpasses the original film with breathtaking photography and a superb use of sound (the scene on the bridge is truly amazing). The musical score by German electronic experimental band Tangerine Dream is brilliant and haunting. The eerie electronic music adds immeasurably to the overall effect of the film, complementing the exotic imagery perfectly.

Fast-paced and witty, this is Chase's best solo venture to date, and will hold almost anyone's attention for its well-edited 98 minutes. Chase underplays his wackier moments to great effect, though he isn't always quite as funny as he thinks he is. (He also isn't the next Cary Grant, which he seems to believe as well.)

The period detail is letter-perfect, the cast is uniformly excellent, and Delerue's score is haunting and evocative. TRUE CONFESSIONS is a thoughtful but deeply disturbing film, and its frank portrayal of corruption and murder makes it for adults only.

It's an undisguised star vehicle for the likeable Chan and his incredible acrobatic skills, and even viewers who couldn't care less about which fighting style the combatants are using will enjoy watching him be put through his paces.

The standout in the cast is Julie Andrews, whose quality of sexy chill has never been used as effectively.

HOUSE OF WAX was stunningly directed by Andre de Toth who used the new 3-D process to its fullest potential without bogging down the narrative with too many "gee-look-what-I-can-do" tricks.

It's a deeply provocative piece of filmmaking.

A beautifully photographed movie filled with poignancy, humor, and (of course) some superb acting.

Extreme-weather buffs, thrill-ride junkies and anyone else in search of mindless entertainment need look no further.

Competently directed by Pakula and featuring gorgeous cinematography by Almendros, Sophie's Choice is an overlong, fairly schlocky film that takes itself very seriously.

Allen Daviau's photography is exceptional; Quinn, Mueller-Stahl, and Plowright give commendable performances. Ultimately, though, Levinson's very personal project never acquires a personality of its own.

Taut psychological thriller.

Beautifully edited and, appropriately, the sound is unusually well recorded and produced.

Sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears.

As an explanation of where we are today, the entire film makes for crucial viewing.

Streisand is actually quite credible in her role and she elicits beautifully shaded performances from a large cast, particularly Patinkin and Irving.

For a film that feels so breezy on the surface, it's a surprisingly complex character study.

There is much to recommend in this film, and sheer energy pours off the screen in every frame.

Filmmaker Barry Hershey's impressionistic documentary about the casting process is the antidote to years of comic "audition montages," those guaranteed laugh-getting freak-show parades of no-talents mangling monologues and pulling nutty stunts in hopes of standing out from the crowd.

Clocking in at just under two hours, MY COUSIN VINNY moves at an extremely leisurely pace for a Hollywood farce. But that's just one indication of what makes this appealingly quirky comedy stand apart from more run-of-the-mill fare.

The combat visuals that follow are as powerful as those of any war film.

It's carefully researched, and it's crucial to fully understanding the Iraqi/American enterprise.

A creepy, atmospheric little film that uses a great cast to its best advantage. Worth seeing.

DiCillo's short, sharp snapshot about celebrity and life on the fringe has nothing new to say, but it says it with considerable charm and affection.

Though it's occasionally tasteless and eventually crumbles, STRIPES is an often hilarious film that provided Bill Murray with a perfect opportunity in which to display his comedic skills.

Even set against the Sierra Club beauty of Redford's Montana, it's hard to get excited by fisherman casting their lines into the water.

Charting a life in transit and barely sidestepping a tragic journey's end, CARO DIARIO proves that you never really know people until you travel with them.

A mesmerizing odyssey through the mind of a uniquely talented performer, as well as through one of the gorier chapters of modern history.

It's about ordinary people living in the shadow of nagging, day-to-day racism, and about the music that reminds them of what's right with the world rather than what's wrong.

Semi-Tough is periodically funny and frequently on target in its satire, and it boasts a strong performance from Reynolds.

An early and sometimes funny effort by director Demme but the hilarity of the subplots (especially the bigamous Napier) swallows the main storyline.

Face to Face is an extremely intense experience from start to finish, due in large part to Ullmann's performance as she powerfully expresses a range of emotions seldom seen in American films.

The Turning Point features a few laughs, lots of maudlin moments, superior dancing from a host of real ballerinas, and an occasionally perceptive script.

If there's a strong sense of urgency behind director Kim A. Snyder's enlightening film.

Overall the film is a fascinating glimpse into an insular world that gives the lie to many clichés and showcases a group of dedicated artists.

So laugh all you want at the proud haircutters of Beauty Without Borders - but don't underestimate what a basic cut and color can mean for a country's future.

Veers regularly into disease-of-the-week territory but is rescued by the powerhouse performances of Ken Watanabe (who was instrumental in getting the film made) and Kanako Higuchi.

The devil is in the degrees. Pineyro and Ferrer have a fine old time teasing the viewer with the ongoing search for the corporate mole.

An ugly, disturbing, passionately conceived cult favorite, Last House on the Left is much more complex (albeit crudely made) than its controversial reputation would suggest.

Surprisingly good follow-up to the original tough crime drama.

Roberts fans will, of course, be delighted to see her in a role that plays to all her strengths -- fresh-faced looks, charming gangliness, air of infinite approachability -- and neatly sidesteps her glaring inability to act by having her more or less play herself.

Douglas gives an appropriately fiery star turn as Van Gogh, delivering some of the best work of his career.

The effect is hypnotically disorienting, but the less familiar you are with this period in 20th-century Chinese history, the easier it is to get hopelessly lost in the tangle of personal and political loyalties and betrayals.

The film suffers from some action and plotting that is questionable in a children's film. The villain is far too malignant, the young vigilante hero seems to be a kiddie Rambo, and some of the action is quite violent, if not tasteless.

Gibson is truly frightening as the cop about to go into orbit, and Glover is a standout as the down-to-earth lawman with very much to lose.

Points for an interesting concept; demerits for the dull execution.

Richard Pryor's assured tragicomic performance is so engaging that this otherwise forgettable film is not only worth watching, but often compelling.

Happily, many of the figures spoken about throughout the film are still with us -- Neville is even able to reproduce Patricia Foure's famous group photo with most of its original subjects.

With remarkable visual panache and a keen sense of irony, Stanley Kubrick rehabilitates Stephen King's trashy, terrifying novel. Not a horror film in any traditional sense, but a perversely comic, occasionally frightening melodrama of intrafamilial rage, THE SHINING retains the Oedipal structure of King's narrative while running rings around its pulpy sensibility.

This is one of the most popular in the series, thanks to a high action quotient (including a tensely staged space battle), a suitably campy turn by Montalban, and the shock value of Spock's death. There is some novelty value, too, in the focus on Kirk's family life back on Earth.

The battle sequences and lightsaber battles are gripping, and for every scene that doesn't deliver the goods, there's another that hums with surprising intensity.

Animal lovers and museum-goers alike are sure to enjoy this curiously delightful hour-long documentary.

The film's opening dedication to Pasolini acknowledges Arslan's debt to Neorealism, but the gritty, documentary style is offset by a charming bit of chalkboard animation that helps lighten the mood considerably.

Based on the comic strip created by Charles Schulz, this is the fourth and the best of the animated films devoted to the charming antics of the "Peanuts" gang.

Maybe the life was edited out of it in the two years between shooting and release, or maybe Dominik was simply overwhelmed by the outsized myths of the West, but the film only comes to life after James' death, when Ford quite literally takes center stage.

The best thing about Fracture is the way in which it defies genre cliches and turns all Hopkins' mannerisms into assets.

The films of writer/director Francis Veber are a bracing reminder that French comedies can be every bit as broad, unsophisticated and cliched as their American counterparts.

A brightly colored, picaresque adventure that's equal parts telenovela melodrama and pop-magic realism.

Characters find themselves in absurdly complicated situations, but respond with sardonic cool rather than hot-blooded hysteria.