Their subtle, complex performances could put far more experienced and better-known actors to shame.

The film lacks the turbulent social context of the 1950s and '60s that lent resonance to the personal uncertainties of Ibgy's forebears -- Holden Caufield, Ben Braddock, et al. But Culkin has a way with quip-heavy dialogue that transforms what might otherwise been irritatingly, solipsistic posing into a great performance.

An honorable film, beautifully acted, refreshingly un-camp in its take on wide lapels and progressive rock and occasionally coolly moving. It's just that ultimately, there's less here than meets the eye.

Filmed in glamourous black and white (with vampire POV sequences shot in arty Pixelvision), it's one of the most mannered horror flicks ever made.

Is there no one in Allen's circle who dares to tell the master this ain't funny?

Ten tumultuous years in the history of the gay rights movement serve as the backdrop for this warm, engaging romantic comedy.

The film is marvelously acted -- the Bolger sisters are a delight -- and Sheridan captures New York City's crazy energy as only an newcomer can.

By turns profane, vulgar, unpredictable, scabrous and perpetually somewhere between buzzed and three sheets to the wind, Bukowski opened a window onto a fringe world of blue-collar drudgery and alcoholic self-obliteration with his blistering, bleakly comic dispatches from the gutter.

This comic extravaganza starts off funny, but exhausts rather than delights.

A blockbuster hit in Korea, Park's feature debut is a beguiling mix of the generic and the unfamiliar, and it ends on a shot that's nothing short of heartbreaking.

Far from the sentimental drivel you might expect given the subject matter, this amiable and heartfelt drama about an adolescent boy's attempt to rouse his comatose mother explores the meaning of faith by tapping into the original, rebellious spirit of Christianity.

Director Sturla Gunnarsson crams each sequence with subtle, telling detail while avoiding "exotic India" clichés.

Adapted from Booth Tarkington's Penrod stories and his Alice Adams, the Warner Bros. production suffuses its folksy story in nostalgia but never completely warms the hearts it aims for.

The Mack is lacking in narrative drive and logic, but offers an entertainingly exploitative portrait of a self-made gangster.

Powell can't give his shallow role much depth beyond a consideration of Ziegfeld's incredible ambition and ego, but he does give it energy and rascally charm.

Mark Moormann's documentary tends to the worshipful, but Dowd, a charmer onscreen, was by all accounts just as appealing in real life.

wWhat doesn't entirely succeed as convincing psychodrama makes one hell of an acting exercise (it's great fun to see great actors purposely mangle the Bard's immortal words), and Levring's cast -- McTeer in particular -- run with it.

Hrebejk's film remains clear-eyed and satisfyingly complex right to the bitter end.

This silly and bloody, but at times very effective, horror film takes The Exorcist one step further by concentrating, not on possession by the Devil, but on the Antichrist himself.

Beneath the plot's romantic turns lies a surprisingly complex examination of the personal and professional price of honesty; falsehoods, half-truths, little white lies and self-delusion spur most of the key plot developments, and Roos never resorts to platitudes to account for their effects.

The film should be required viewing for all aspiring filmmakers, but the story's road-accident appeal is universal.

While flawlessly delivered, it's overkill--so loud and excessive, it makes our head swim... It's like a sumptous banquet composed entirely of fast food; fills you up but entirely forgettable.

The giddy, "anything could happen" sense that made "Pulp Fiction" and "Reservoir Dogs" so viscerally exciting is missing here. But Tarantino's first picture in nearly three years is a faithful adaptation of Elmore Leonard's "Rum Punch," and its melancholy edge is a wistful delight.

Violent update of The Blackboard Jungle.

A pleasant, mildly inspirational movie but hardly worthy of all the accolades it received.

Piper Perabo is a revelation -- and Barton is maturing into a sensitive, subtle performer with a marvelously expressive face.

Curl your cynical lip if you want, but there's a place for heartwarming, life-affirming, even weepy dramas, and Robert Redford brings the best-selling novel about a traumatized teen and her wounded horse to the screen with dignity and restraint.

Although Chase is very funny, the first half-hour of NATIONAL LAMPOON'S CHRISTMAS VACATION is rather flat; the film really comes to life until the arrival of Cousin Eddie (Randy Quaid), who steals the picture. Nevertheless, with enough sight gags to please slapstick fans and enough good-natured Christmas cheer to qualify as a good holiday film, NATIONAL LAMPOON'S CHRISTMAS VACATION should keep most viewers occupied and provide 97 minutes of goofy entertainment.