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.

An uneasy mix of B-movie scares.

Former actor Don Taylor directs smoothly and efficiently and elicits fine performances from the cast, highlighted by the warm relationship between Zira, (a touching Kim Hunter) and Cornelius, knowingly played by Roddy McDowall, who returns in the role after being replaced in the first sequel because he was directing a movie (TAM-LIN) at the time.

Fails to capture the essence of Hesse's book, try though it may. It is more a series of filmed events than an interpretation of the story.

What distinguishes Cordero's film is his use of location.

Overly sentimental, but with its heart in the right place, THE OLIVE TREES OF JUSTICE tells the story of Prothon, a Parisian who returns to Algiers (he was raised there) during the war of independence to be with his dying father.

The soundtrack, thick with catchy tunes by artists ranging from P.Diddy to Paul Simon, is a fine counterpoint to the story and visuals.

Bettany, previously best known as a supporting player, shoulders the burden of a Hugh Grant-style romantic lead surprisingly well, revealing an offbeat charm.

Though filmmaker Nina Gilden Seavy followed Bering Strait for the better part of two years, their story is in no way over at the film's conclusion.

McKenzie's mercurial performance is the centerpiece of this sad, surprisingly absorbing story.

The result is so intoxicating, it hardly matters that you've heard it all before.

This far more modest production is a much more interesting film (than "Anywhere But Here").

This raw and raunchy drama from director Henrique Goldman offers what few feature films have ever bothered to attempt: a realistic, wholly sympathetic look at the lives of transgendered prostitutes.

This surprisingly grim comedy-drama is about as good as director Joel Schumacher gets.

It's hard not to be charmed by scenes like the one in which Briggs gives his posies a little pep talk, assuring them that just because they sprouted behind prison walls doesn't mean they can't compete with those hoity-toity flowers at Hampton Court.

Marketing-minded folks may be quick to position Guncrazy as a 90s take on Bonnie and Clyde (1967), and its title is certainly meant to evoke Joseph H. Lewis's 1949 classic Gun Crazy. But this film is by no means as brash, startling, or iconoclastic as either. Its quieter character-study nature has more in common with They Live by Night (1949), its remake Thieves Like us (1974), and Badlands (1973). Compared to these three landmarks, Guncrazy comes up lacking in lyricism and resonance, but it does give ample pleasures thanks to a subtly self-aware sense of humor and fine performances by itstwo leads.

It's not a nice movie; like The Exorcist, it is ugly, cynical, and mean-spirited. Yet it's also rendered with the same gripping, unholy conviction that has been Friedkin's "saving grace" throughout his career.

Sure, like cotton candy: It doesn't do a thing for you, but it's wickedly sweet as it melts on your tongue.

Hooking up can be as random, and as rewarding, as hitting the jackpot -- and helps makes "This Car Up" the best of a pretty good bunch.

Moore's film is unusually sharp looking for this sort of documentary, and comes complete with a nice soundtrack. But most important, it's as comprehensible as any "Dummies" guide, something even non-techies can enjoy.

Under the direction of veteran Fleischer, this superior sequel to the plodding Conan The Barbarian boasts much more speed, skill, and ingenuity than its predecessor.

Like the first ADDAMS FAMILY, this continuation of the macabre clan's misadventures is really just a string of sight gags and one-liners. The good news is that the one-liners are much funnier than the first time, mainly thanks to the increased input of screenwriter Paul Rudnick.

Creepy, beautifully designed horror yarn about mutant roaches that delivers both artfully eerie atmosphere and some boffo shocks.

A little too derivative of much better movies to succeed on its own. However, in the context of recent Chinese movies, it's a pretty amazing piece of work.

Though beautifully acted by Basinger (everyone else is relegated to a supporting role), there's a strange vagueness to much of this sumptuous, stunningly photographed melodrama.

The first 45 minutes of this wickedly clever comedy features the smartest, tartest high-school satire since Alexander Payne's "Election."

It's essential viewing for anyone interested in the state of post-Apartheid South Africa.

Stoltz turns in a restrained, realistic performance, and Thompson is quite good in what could easily have become a thankless role. But far and away, this is Masterson's film. An amazingly mature young actress, Masterson skillfully brings subtlety, depth, and nuance to her character.

Playing straight man isn't really Barrymore's strength, but former "Simpson's" writer Larry Doyle's script is funny and Stiller is even funnier; he turns even the more juvenile moments in something to laugh at.

This is an offbeat gothic drama with elements of mystery, that would be nothing more than a muddle if not for the compelling presence of Tracy and Hepburn.

A hokey, more-than-a-little-annoying mystical journey of self-discovery.

Not surprisingly, his ranting soon becomes repetitive and boring. Greenaway's dialogue cannot sustain our interest, and his lack of humor is the film's biggest drawback. For a lover of games, the director is never remotely playful.

Of course, no creepy movie worth its salt would be complete without an appearance by Udo Kier, and Parigi doesn't disappoint: Kier appears as Kenneth's louche, hookah-smoking next-door neighbor and, as always, is a disturbing delight.

Writer-director James Mangold has surrounded Stallone with an exceptional ensemble cast, and Sly is smart enough to let the actors do the acting.

An offbeat and sometimes jumbled western adventure film. (Review of Original Release)

Goofy and inconsequential, but pretty damned cute.

Sensitive, extraordinarily well-acted drama.

Mask is a good movie that could have been a great one with a little more restraint.

Terrio keeps the multiple stories flowing smoothly, and the setting goes a long way to justify the web of fortuitous interconnections -- New York is the ultimate two-degrees-of-separation town.

Manages to create a great deal of ambiance and a few thrills on a shoestring.

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

In a world filled with crude movie sitcoms, Berg's bitter, worst-possible-case scenario really does stand alone.

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

Some of the film's more violent scenes may be inappropriate for young and/or sensitive children.

Beautifully photographed in locations from Bavaria to London to the English countryside, and including some excellent special effects from Les Bowie, TO THE DEVIL A DAUGHTER deteriorates a bit in its relatively ludicrous ending. The film does, however, boast some truly frightening images of black magic rituals, a gruesome birth scene, and a very immodest Kinski.

Davidson's young cast is remarkable, engaging and guilelessly funny without being so cute that their calculated actions ring false.

If you're feeling open-minded and a little adventurous, this chilling exploration of the gender gap from Gallic bad-girl Catherine Breillat is worth a look.

A sweet film with no big action moments may be a hard sell to young male audiences, but it's nevertheless a quality story that the whole family can watch together.

Of the Naked Gun films, 33 1/3 is the most successful in capturing the breakneck genre parody that marked the short-lived but critically acclaimed Police Squad TV series (which won Nielsen his only Emmy). Taking broad pot shots at everything from Thelma & Louise to The Crying Game, and culminating with a breathless swipe at the sacred cow of the movie industry, the Academy Awards.

Has a giddy silliness that's thoroughly endearing.

Both Robertson and Keuck are frighteningly good, and director Coccio imagines their home movies so effectively that his film comes dangerously close to being a how-to manual for aspiring classroom spree killers.

The Racers was the first big-budget Hollywood treatment of motor racing, and its very exciting racing footage almost compensates for the slim plot.

The movie's secret weapons are its stellar cast, whose performances go a long way to ameliorating Ross's ham-fisted use of foreshadowing and symbols, and its brilliantly shot racing sequences -- they're heart-stoppingly suspenseful even when the outcome is a matter of record.

Fox falters a bit with the narrative, but offers a fascinating treatment of the issues facing the descendents of Jewish victims and their German persecutors, as well as one of the most chilling birthday parties ever filmed.

A funny, perceptive and seductively engaging movie.

Rocky III crawls along without dramatic impetus, failing to convey the big emotions and missing the humor of the first two films.

The whole lighter-than-air lark whizzes by like a brisk, kandy-kolored dream of the 1960s, flavored by a Saul Bass inspired credit sequence; a slinky, Henry Mancini-esque score; and a stunning array of period sets and evocative locales.

A humorless Greek-tragedy western with little going for it save its inexorable momentum toward the obvious end.

Cox, a fifth-generation Mormon whose own story isn't too far from that of Elder Davis, shows how much of Aaron's strength derives directly from his faith, while even the most homophobic of Cox's characters demonstrate a capacity for both charity and, possibly, change.

Excalibur is a grand, clanky, brooding fantasy.

A little commentary would have helped put the tragedy of the Hillbrow Kids into sharper perspective.

Overlong but interesting thriller.

The film is sponsored by Lockheed Martin with the cooperation of NASA, both of which are deeply involved in the development of the ISS, so it's not surprising that none of the questions that have swirled around this project -- like, who'll foot the bill if any one country defaults on its contribution? -- are answered, or even addressed.

It's all cutely derivative, occasionally charming and very occasionally clever...but the movie's vague aspirations to being something more than disposable fluff never amount to anything.

Despite the inaction, the film culminates in a scene some viewers will no doubt find shocking.

Following surgery Wayne wanted to prove he was still physically fit, and his role here certainly goes to great lengths to show it. Wayne rides, shoots, and fights as though the worst that had happened to him was a touch of the flu.

The thin line between self-esteem and hubris is explored in this cautionary tale.

The animation is truly breathtaking, the action sequences are spectacular (and sometimes very violent) and everything floats along on the strains of Il Won's spare, hypnotic score.

Imagine "Hansel and Gretel" by way of "The Texas Chainsaw Massacre."

A flawed though compelling eye-opener.

The energy is infectious, and while the female empowerment angle is no doubt sincere, the whole up-tempo construction jiggles a bit too much to be taken seriously.

It's a kiddie movie rejiggered for childish grown-ups, of whom there are enough to make it a hit. How such childishness has become a virtual secular religion is hard to imagine.

Ricci's less flashy characterization of the immature Selby is equally skilled and meshes seamlessly with Theron's uncompromising performance.

Aside from Bjork's astonishing performance, it's a grim tragedy that's deliberately drab and exceedingly painful to watch.

His (Crowe) emotionally charged performance stands in contrast to Ryan's annoying, movie-star turn.

Modest, on-the-money performances, which look effortless because they're so meticulously thought out, make the hours fly by.

Smith's beautifully observed story of two young women learning how cruel and calculating the world -- and they -- can be is beautifully realized, and Garai stands out among a fine ensemble cast.

If you're rooting for Barrymore and Fallon, then why not their team? In the movies, there are enough happy endings for everyone.

It's a brilliant impersonation; Smith gets Ali's speech patterns and Louisville accent exactly right, and astonishingly convincing facial prosthetics complete the transformation. But he never quite finds the man under the enormous image; those quintessential Mann moments, during which Ali is left alone to brood, feel surprisingly blank.

The film doesn't provide any narration or go out of its way to identify the participants, so it's left to the viewer to make connections and draw their own conclusions.

No one does deranged quite like Kathy Bates (the film's running gag involving Bates and the delicacies of Cajun cuisine is hilarious).

An enjoyable hour-and-a-half for adults that creates a wholly unique world of colorful sets, costumes, and characters.

Alex Shuper's solid, if hyperactive, documentary uses every trick in the film editor's book to celebrate this too-often underappreciated aspect of moviemaking.

There are moments of wonderful insight, but while the booming, fully animated adventures of the Atomic Trinity (by "Spawn" creator Todd McFarlane) that Care intercuts with the live action at first seem a good idea, they ultimately upset the film's carefully established mood.

The entire cast is extraordinarily good -- many of them are, after all, actors by trade -- but throughout, Zhang is keen to remind his audience that this is only a dramatization.

Getting Irving's characteristic blend of quirky comedy and sorrow just right on screen has always been tricky, and writer-director Tod Williams' best efforts aren't enough to make the mix gel.

Deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill.

The medium overwhelms the message, but music video director Hype Williams' feature debut still has far more on its mind than it first lets on.

Loosely based on the true-life exploits of French spy Philippe de Vosjoli and the 1962 "Sapphire" scandals in which top French officials were uncovered as Soviet agents, the film has a sense of authenticity but fails to fire up as much suspense as most of Hitchcock's intrigues.

It's essentially an urban variation on "The Hitcher" (1986) with nothing much going on underneath.

The result isn't exactly funny, just profoundly peculiar and even occasionally, unexpectedly poignant.

Cage creates a homey and thoroughly likable character who earns the respect of the audience, but Hunter is the real surprise. Appearing in her first starring role, the stage veteran displays so much energy that she forces the audience to pay attention.

MacDonald's novel--his first solo screenwriting credit--is full of rapid-fire dialogue but some of the characterizations are thin. Despite all the big names involved, Harper doesn't begin to approach the big leagues of hard-boiled detective films. Nonetheless, Newman gives a convincing performance.

For all its classy cast and glum polish, this metaphysical horror picture with big things on its mind lacks the malevolent buzz that vitalized SEVEN and THE HIDDEN, two of the more obvious sources from which it draws considerable inspiration.

Lyne's direction is sometimes overblown -- debauched playwright Clare Quilty's (Frank Langella) appearance amid the pale fire of exploding bug-zappers really is a bit much -- and the unfortunate fact is that the novel is one long tease, an intricate, seductive game in which words are as important as deeds.

Julie Christie is glorious, and that's most of what you need to know about this slight, loosely structured and self-consciously ironic soap opera in which two couples -- one young and troubled, the other older but hardly wiser -- get themselves into a series of fine messes.

Bleak and complex moral thriller.

This otherwise sober film's high ick factor is clearly designed to convince restless students that entomology is extremely cool.