They're answers that will either earn your respect, or further damn him as the architect of an American nightmare.

While Gyllenhaal is a competent actor, Ledger - surprisingly enough - is becoming a great one, and the levels of intensity they bring to their roles render this romantically star-crossed relationship emotionally lopsided.

Expertly crafted and brilliantly acted, MUTINY ON THE BOUNTY is one of the most durable and engrossing adventure films ever made.

The Wicker Man is intelligent entertainment that takes its subject seriously without resorting to gratuitous effects to make a point. It remains a fine example of occult horror that remains with the viewer well past its conclusion.

A bold, painful memoir that finds an innovative middle-ground between conventional documentary and a homemade, home-movie collage.

The spectacle is absolutely enthralling, and even a bit frightening.

The film is filled with humor, compassion and cajones, and never once glosses over the fact that these guys are prickly personalities who can sometimes act like jerks. There are also a few tears, but remarkably, not a single one is shed in pity.

Anyone looking for the comfort in a tense thriller ending in a satisfying restoration of order and psychological security will be bitterly disappointed, but Haneke isn't in the business of encouraging comforting illusions.

Delightful, sophisticated comedy sparked by the famous chemistry between Katharine Hepburn and Spencer Tracy.

A fascist film, or a film about a fascist cop? Either way, this is suspenseful, energetic stuff, directed with urgency and style by Cahiers du Cinema favorite Don Siegel.

Classic melodrama given a thoroughly modern, utterly Almodovarian face-lift.

This film is the product of artists working at the peak of their powers.

On the surface, nothing really happens, but to call it a nonevent would be to miss the point entirely.

One of director Jack Conway's finest efforts, the film never suffers from a sense that the novel has been compressed or rushed. Moving, fresh and aware of its effects, this film stands as one of Hollywood's finest adaptations of a novel.

A wonderfully funny and creative film with a cornucopia of comical characters in absurd situations. These loony elements combine to offer some perceptive observations about human joy, fear, and passion for food.

I KNOW WHERE I'M GOING! is a beautiful film about the profound effects of nature on people, and that fact that the universe can be a wondrous and magical place if one keeps oneself open to its vast mysteries.

Travolta gives a sensitive performance, as does the director's then-wife Nancy Allen. The film's emphasis on the role of sound technology in movie-making is unusual and instructive.

The Magician is still fascinating, presenting a myriad of challenging ideas about magic, reality, and the nature of film itself. The acting, as in typical in Bergman, is exceptionally good, with Bjornstrand a standout.

Inexpensively shot on digital video, it's an invaluable work of art.

The ultimate arty 60s thriller, and we mean that as a compliment.

Beautifully edited by Soderbergh, the film is evenly paced, its subtleties accreting slowly, and by the end it gathers powerful emotional momentum.

Though it offers a host of fine performances in a smoothly crafted, adult drama of unfulfilled love, it lacks the cumulative dramatic impact of the team's best work.

A masterpiece of satire and one of the more controversial films of its day, TO BE OR NOT TO BE is a brilliant example of how comedy can be as effective in raising social and political awareness as a serious propaganda film, while still providing hilarious entertainment.

Dog Day Afternoon benefits immeasurably from a cast and crew doing some of the finest work of their careers. One of the finest films of the 1970s.

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

Though one wonders if Arau couldn't have found more visual parallels for Esquivel's narrative, overall the film is a witty, charming diversion that struck a chord with audiences.

Although the story is admittedly slight, Redford demonstrates a tremendous understanding of his subjects, wealthy white suburbanites who struggle to conceal the rage and fear that eats away at them. His quiet, gentle direction is epitomized in memorably painful moments, such as the famous photo scene, when the squelched feelings threaten to explode.

The film ends with a return to the beach, and one of the most psychologically chilling and expertly photographed shots imaginable.