This warm, ultimately poignant film hoes its own row, and proves once again the diversity and vitality of contemporary Argentine film.

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.

Its idiomatic wordplay and social satire is vintage Wilder, and the opening sequence where Dino performs in a nightclub is one of the funniest things that Wilder has ever done.

The overall effect of Demme's film is a little like experiencing Nazi prison camps through reruns of Hogan's Heroes, right down to the few bona fide laughs.

Miike's goofy, gallant, action-packed fantasy deserves to become a classic family film.

Romero paints a bleak picture of a bureaucracy that has nothing but contempt for the lives of private citizens, zealously harbors secrets, and gives unbelievable power to a basically incompetent military.

As contrived and pretentious as its title.

Ultimately, the film works best when viewed as a tone poem that examines the present through the prism of the past.

It's hard to tell whether Hyams' subjects are exceptionally nice guys or whether there's an excess of decency on the PBR circuit, but if even one were more conspicuously flawed, the film might be more compelling.

Complex, atypical Bogie performance is keynote for strong drama from Pulitzer-winning novel and Broadway show.

It's fun, fast-paced, educational entertainment that's fit for the whole family -- American boys included.

There are no laughs to be had here, though, unless you count nervous titters and frat-boy sniggers at the very thought of, you know.

Fast paced and engagingly acted.

More subtlety or quiet introspection might have lent greater credibility to the role, though Grant and Robinson unquestionably have made their point.

More mystery than comedy dominates this sometimes draggy production, whose script is less inspired than in previous THIN MAN efforts. The atmosphere and sets, along with stellar performances by the principals, can't offset a weak story.

Full of the lush, confusing images one comes to expect in a Nicolas Roeg film.

On the surface, True Lies is an affectionate homage to James Bond movies, ratcheted up to meet the action/adventure expectations of today's audiences.

A long, dark night o' slacker despair, courtesy of Richard Linklater and self-important blowhard Eric Bogosian.

It has a creepy power all its own.

The brothers' dark, all-star farce about sex, lies and surveillance is pretty damned funny.

The film's depiction of life among the salt of the earth is blandly cartoonish; and the "Super Sounds of the '70s" soundtrack meticulously matches songs to action, as though the filmmakers didn't trust viewers to figure out what these one-note characters were feeling.

The best parts of the film come when he (Doillon) just lets the camera roll and lets the kids be kids.

It's a documentary, but the filmmakers couldn't have scripted a more revealing microcosm of profiteering and exploitation.

First-time filmmaker Ben Younger makes not a single false move when delineating the merciless, high-testosterone world of boiler-room brokerages.

Spare, elegant and tailor-made for intense discussions over dark coffee, Boe's film is a slily bold and delightfully inventive variation on an age-old theme.

William Rose, with a stilted screenplay, and Stanley Kramer, make this dinner hour stand still--a really safe, lame melodrama.

Ron Howard's direction is carefully balanced, and he treats his characters with humanity and respect. Winkler turns in the best performance of his career, and Keaton is wonderful.

Lundgren, an inexpressive actor, is perfect as a graphic cipher: his face was made to be drawn in ink and filled in with broad washes of color. Carefully tended facial stubble trimmed to give him a skull-like appearance, Lundgren is truly impressive as a character defined by emotional emptiness.