A love triangle played out on the Isle of Man is the basis for Alfred Hitchcock's last silent film, THE MANXMAN, an uncharacteristic example of Hitchcock with tongue out of cheek.

"Survivor" meets "Cinema Paradiso"in this wonderfully entertaining documentary about a film fanatic's quest to bring Hollywood movies to a remote South Sea island.

The film doesn't dwell on bad feelings, and anyone looking for lurid details won't find them. But fans will love the live footage of this still-powerful band ripping through a virtual greatest-hits set.

Mitchum gives a surprisingly strong performance as a character-type he normally steered away from.

It's both funny and harrowing in the way that only a childhood nightmare come to life can be.

Extremely well-shot espionage thriller that might have worked as an old-fashioned guy's-guy movie if the guys involved had any real, human personality and the espionage were actually thrilling.

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

The film is wickedly funny and a first-rate showcase for Ferrell.

By alternating between Jackson's and Kim's point of view, McCann shows both sides of the story: the panicky fear of the paranoid schizophrenic -- the arrhythmic editing and Marshall Grupp's masterful sound design convey a sense of dislocation and shifting reality -- and the bewilderment and frustration of the people who try to help him.

Figgis again aims for sensual moodiness, but so many clashing tones clamor for the viewer's attention that the result is a noisy mishmash.

This is the one that started it all and it is also one of the weakest of the "Road" pictures.

Perhaps with a few more drafts, the filmmakers could have found a means of maintaining the quiet momentum displayed early on, but as it stands, Changeling is little more than a frustrating missed opportunity that's dressed to the nines, but a day late for the party.

Bojanov's sad subjects could as easily be in Detroit or Glasgow or Marseilles. What keeps his film from being a relentless wallow in wasted lives is its surprising conclusion.

Empty shortening of Irving's book reaches for profundity, and comes up courageous but brainless.

An exciting picture with much derring-do and adventure, Where Eagles Dare is also a lengthy film, though there is more than enough action to keep it moving along.

The fourth THIN MAN film isn't nearly as good as the first ones, but it has its own rewards, thanks to the inimitable by-play of Powell and Loy.

Dark, oddball Capra, but a worthwhile watch with a tail ending wagging the dog.

Bold and unforgettable meditation on a truly bizarre incident that pokes at the very heart of one of our culture's biggest taboos.

A deep and astonishingly authentic streak of melancholy runs through this fifth sequel to the 1976 sleeper that made both struggling actor Sylvester Stallone and hard-luck slugger Rocky Balboa international stars.

Director Gore Verbiniski delivers the best one can hope for: a cleverly nostalgic, high-tech copy of the real deal.

The film's rather shallow treatment of his art only reinforces the long-held opinion that Hockney is more a brilliant visual stylist than an artist of any great depth.

Svankmajer has crafted his finest live-action feature to date.

Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.

Through what sounds like a project of unpromisingly limited scope, Lee manages to touch on a surprisingly wide range of subjects, from cultural identity, familial expectations, community responsibility and, above all, self-definition.

Unfortunately, EATING lacks a main plot or any truly involving developments, and the film, after a promising beginning, loses steam.

Unfortunately, the trajectory of Mueller and co-screenwriter Kevin Kennedy's repetitive screenplay echoes "Taxi Driver" so closely as to invite unfavorable comparison with Martin Scorsese's benchmark chronicle of alienation.

Wood is excellent, but this is a career highlight for Douglas. His depiction of the manic Charlie stays surprisingly grounded and prevents the story from being a naive celebration of mental illness as a kind of freedom that it so easily could have become.

The story is slight and would probably be better suited to a short subject, but first-time feature filmmaker Pierre-Paul Renders gives it a striking formal twist: It's told entirely in the first person.