A hilarious and deftly convincing satire.

The results are a harrowingly intimate connection with a torn, tormented father, and an uncommonly powerful film.

The Last Detail is a gritty look at the military life and the people who are attracted to it. It is dark in its message and gray to the eye. Locations are all washed out as though there were a thin membrane of filth spread across everything except the leads, who pop out colorfully like three strawberries in a bowl of Cream of Wheat.

Only Angels Have Wings is a powerful character study, and director Hawks and his fine, predominantly male cast carefully develop the personalities of an interesting collection of characters. Though much of the dialogue is predictable, the story is strong, the acting is outstanding, and Hawks's cameras move with fluid grace through the confining sets.

A chilling, manipulative rollercoaster ride.

This quintessential movie on movies is an engrossing, seductive Minnelli epic, graced with superb performances.

Hopkins plays the cannibalistic doctor with a quiet, controlled erudition, lacing his performance with moments of black humor. His Lecter is a sort of satanic Sherlock Holmes whose spasms of violence are all the more terrifying because they erupt from beneath such an intelligent and refined mask.

Leaves you wanting much more.

This is Ingmar Bergman's chaste exploration of psychosis. It's not a horror story but a poem, and remarkable for that. This is one of the director's masterworks.

One of the ultimate expressions of Paramount Studios chic, Desire remains one of its desirable star's finest films.

Not surprisingly, we're left with characters that feel only half sketched and fail to resonate on their own -- but onto which much can be read by Hou's most ardent fans -- in a poetic looking film that's ultimately as inflated and empty as the balloon itself.

It's a humbling way of life, and one that, as Varda discovers in this wonderful, 80-minute essay, has survived in surprising ways.

A dark, expertly contrived display of paranoid nastiness; it's so gleefully mean that only the most tender-hearted viewer could resist going along for the ride.

A tense and chilling espionage picture, Sabotage contains one sequence that many consider among the director's most excruciatingly suspenseful.

One of the most original, visually stunning, and provocative films of the 1970s, Walkabout is timeless in its beauty and unique approach to a classic coming-of-age story. The film is arguably director Nicolas Roeg's finest achievement.

Bardem's performance is simply shattering.

The film’s only flaw is a minor one: Some of the stylistic devices, such as the rapid-fire montages of vile and depraved images, have aged poorly. But that in no way detracts from the visceral power of the backslide into the abyss that we experience along with the central character.

A collection of interconnected vignettes shot as live-action digital video footage which is then 'fed into' computer animation software, Linklater's latest film is an audacious, ambitious undertaking. There's a surreal yet consistent logic to it, which is the film's biggest accomplishment.

Deceptively simple, Pieces is one of the most complex pictures of the 1970s.

The massive James Jones novel, deemed impossible to put onscreen because of its strong sexual content and language, finally emerged as a lavish, star-studded spectacle, much bowdlerized but redeemed by a slew of fine performances.

It's the rare action picture whose adrenaline-driven thrills neither overshadow the characters nor degenerate into cartoonish preposterousness.

Beautifully acted, minutely observed story.

Polanski's film is an unqualified success both dramatically and artistically.

Homelessness is all too familiar to many inhabitants of the world's wealthiest cities, but rarely has the situation seemed so hopeless, or its victims so desperate.

A film such as this, which is essentially a series of comic vignettes without a plot, depends upon its performances, and both Gould and Segal are in top form, providing an example of impov at its best.

Akin achieves a peaceful balance here –- alongside the death and seemingly senseless tragedy, there’s also a kind of reassuring equilibrium.

The Savages is funny in the if-you-didn't-laugh-you'd-cry way and superbly acted by all involved, including the supporting cast of home-care attendants, nurses, hospital administrators, intake personnel and nursing-home staff.

Documentarian George Butler ("Pumping Iron") wisely opted to stick to the cold, hard facts of the expedition's tale while layering in warmer material, like interviews with historians and descendants of the crew and narrator Liam Neeson's lilting bedtime-story delivery.

This quintessential film noir catapulted contract player Robert Mitchum into superstardom and set the standard for the genre for years to come.

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

The kind of brainy human comedy that only this formidable French auteur seems capable of making.

The atmosphere is Southern Gothic pure enough to do Carson McCullers proud -- grotesque, sentimental and dankly nasty -- and Thornton manages not to undermine his own writing.

Poignant and sometimes downright hilarious, much of the film unfolds in the small area outside the arena -- an "offside" penalty box for women who just won't behave.

Deliberately eschewing the fast pace, strenuous action, frenzied special effects and wall-to-wall songs of the standard Disney animated feature, the film allows the audience to get to know the character of Kiki and feel the emotional highs and lows she undergoes in the course of her year in training.

Sly, leisurely-paced western from Howard Hawks, with a script by Leigh Brackett ensuring a few laughs.

The attention to movement and detail is stunning, with multiple layers of action filling the frame. The highlight of the film, the fight with the dragon, is terrifying, exciting, and brilliantly executed, though some youngsters may find it a bit too scary.

MONA LISA is a detailed, thoughtful film that sensitively explores the emotions within its seedy, exploitative milieu.

A finely observed film but insufficiently developed as a satire of middle America. [Review of re-release]

Apatow's clever comedy is a romance in reverse, and it works.

The wonderful performances by Ford's stock company in these roles help make THE QUIET MAN an utterly moving and fascinating portrait of rural life in Ireland.

Ghobadi has little use for sentimentality, and never flinches from the fate of these children.

A thrilling return to form.

Exquisitely crafted drama.

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

Superb drama from New York-based filmmakers Ryan Flek and Anna Boden.

A haunting and subtle film, filled with desires gone awry and everyday settings turned inexplicably nightmarish.

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

An exciting dramatization of the strange events that marked the turning of the legal tide against Big Tobacco, and a particularly dark moment in the annals of CBS News.

It's a fascinating film, simultaneously enthralling, infuriating and guaranteed to make viewers ask how such a perversion of the political process could be taking place in America.

A liberal film on the subject of homosexuality rather than the radical film some considered it at the time, Victim still stands as an intelligent film attempting to address an important social issue.

While maintaining the appearance of clinical objectivity, this sad, occasionally horrifying but often inspiring film is among Wiseman's warmest.

Extraordinary documentary.

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.

Rosson's moody photography and Rozsa's moving score further enhance this film noir masterpiece.

Though the specifics of the story may be unfamiliar to Western viewers, its broad outlines and underlying themes are universal, and Christopher Doyle's ravishing cinematography transcends language.

Although the film is often brutal, there is such a positive sense of morality displayed here that Shane should be seen by the whole family.

A bracing cover of Ian Tyson's "Four Strong Winds," performed by no fewer than seven acoustic guitars, rounds out the set, but be sure to stick around for the credits.

Ever hear of a rock musical that actually rocked? John Cameron Mitchell's glorious adaptation of his acclaimed Off-Broadway show might be a first.

The cast is universally strong. Hackman, Freeman and Harris don't do anything they haven't done before, but the roles suit their personae to a degree where they approach archetypal status.

The film is surprisingly satisfying and meaningful.

Excellent, but nasty stuff.

That Ledger stands out in such a powerhouse ensemble is a tribute to his radically unhinged interpretation of a familiar character: The lank hair tinged seaweed green, the darting tongue and faint lisp that call constant attention to the ghastly rictus of his mouth, the nightmarishly smudged make up… taken together, they make previous Jokers feel like, well, jokes.

Excellent animation, marvelous color, and lovely music make Cinderella a delight all the way around.

Also featured are countless cameos from local superstars ranging from the Fall's Mark E. Smith to Mani of the Stone Roses, making the film an absolute thrill for fans of the Manchester scene.

Director Imamura effectively portrays some of the more negative aspects of the forces that have shaped modern Japanese people. In this manner the picture resembles his chilling films of teenage wanderlust made in the 1950s.

A smashing follow-up to SALUDOS AMIGOS, this is one of the most dazzling achievements of the cartoon genre.

This superior movie made the world aware of the plight of these children and money poured in to the UNRRA to help their plight.

THE SACRIFICE is about a number of things, none obvious and none remaining wholly consistent from one viewing to the next; it is a poetic vision, filled with the symbolism peculiar to Tarkovsky's imagination. It is also a visually stunning, hauntingly beautiful, brilliant piece of art.

For the most part, the result is a smashing success, filled with great performances and exquisite production design. But those final moments, in which the true nature of the story is revealed, are an unmitigated disaster.

Never the most optimistic of poets, Sokurov does suggest the possibility of dialogue on the individual level, and the hope that by asking difficult questions of one another, these mortal enemies can find answers and reach an understanding everyone can live with.

Boon's film is both funny and heartbreaking, a supremely confident mix of political satire, free-floating paranoia, fractured family dynamics and the kind of comedy that regularly reconfigures itself into tragedy.

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

Racing through the sub, squeezing through tiny openings, director Wolfgang Petersen's camera brilliantly evokes the claustrophobia and clamor of undersea battle.

The film is flushed with bright light and cartoon hues, nicely accenting the fast-paced stew of incidents.

Andrei Tarkovsky's STALKER is a metaphysical allegory in the guise of a sci-fi adventure, that like most of this visionary director's films, alternates between mesmerizing brilliance and intense boredom.

A rare adaptation that actually improves upon the original material: It's everything a good children's adventure tale should be, and a powerful fable for adults.

The horror of the images is unforgettable, but what lingers are the small particulars of the survivor's stories, recalled as if it all happened yesterday.

A powerful, yet subtle, picture from Australian director Peter Weir, who has demonstrated quite a flair for mystical themes.

Evokes feelings of fascination and heartbreak, as well as a sense of disbelief.

This tightly structured, often exciting film is among the boldest in a series of increasingly explicit movies.

A moving look at the choices parents make on their children's behalf, and the reasons behind those choices.

Bertuccelli's heartfelt film affords a unique peek into the hearts and minds of a generation who, after having been awakened from the lie they'd been living all their lives, must now face the aftermath of an entire nation's failure.

Aided by a superb script from playwright John Guare, director Louis Malle pulls off a minor coup here, celebrating his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are.

A great movie is something more than the sum total of all its parts, and here, the elements all come together to form a feature that speaks a universal form of optimism that isn't likely to get lost in translation, no matter where it screens, or who is watching.

It's all confusing, woozy and slightly stoned, and feels very much like adolescence.

GIANT confirms Taylor's skills as an actress; she's entirely believable even when she ages by just having her hair greyed.

Steven Soderbergh's direction conjures an understated '70s vibe, striking an apparently effortless balance between grit and glamour.

Blindingly obtuse, excessively morose, the film is nevertheless dazzling in its inventive and massive sets and spectacular in its techniques...A powerful work that is both bleakly funny and breathtakingly assured.

By turns awe-inspiring and deeply human.

Feels astonishingly fresh, filled with subtle performances and devastatingly understated images - Sautet's final shot of Davos alone in a Paris crowd is a killer.

It all has an artless, ephemeral feel, and 20 years from now people will marvel at the fashions, the landscapes and the attitudes it captures like fragile bugs in amber.

From a technical perspective, it's undoubtedly the most impressive and authentic concert film ever made.

The screenplay, which differs significantly from the novel, is uneven, but the distorted mirror it holds up to the present is disturbingly clear.

A film whose "TV movie" feel is at once incredibly appropriate and a notable drawback, Broadcast News is nevertheless worthy adult entertainment.

Wildly entertaining and quite poignant.

Warm and utterly beguiling fable.

The acting is flawless throughout, with top honors going to Davis, who blazes through the picture with devastating intensity and honesty. It's an urgent, unsettling performance, perfectly complemented by Pollack, who projects quiet ease and authenticity in this, his first major role.

KING AND COUNTRY is a grim indictment of the arrogant, simple-minded mentality of the men who send their fellow citizens off to war.