Of all the feature films and documentaries to emerge since 9/11, few have been as bold, perceptive or as downright chilling as this thriller.

Sweet-natured, episodic comedy-drama.

Given a distinctly playful treatment by Russell, who crams some kind of phallic imagery into almost every frame, THE LAIR OF THE WHITE WORM is solid, campy fun--much more entertaining than any of the director's "serious" films. Russell (who also scripted) enjoys himself with all kinds of fetishistic images, from a naked Amanda Donohoe slithering around in green body paint, to a white bra- and panties-clad Catherine Oxenberg suspened over a pit as a sacrificial offering to the great white worm-snake--whose flickering tongue is, no doubt, firmly in his cheek.

The premise is ordinary, but the film is distinguished by funny gags and excellent performances by Molly Ringwald and Anthony Michael Hall.

Anderson is a master of detail, from the film's ubiquitous fish motif to the elaborate carnival set piece that unfolds inside the claustrophobic confines of a spook-house ride called "Route 666."

Biloxi Blues works better than the script alone would suggest, thanks to the skillful direction of Nichols and excellent performances from Broderick and Walken.

This second feature from director Fred Dekker is a poorly paced and haphazardly scripted horror-comedy that is neither scary nor particularly funny.

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.

Lacking the thematic depth of "On The Run," this brisk, bubbly jape never really transcends the genre it's emulating, and your enjoyment of the film really depends on your tolerance for bumbling misunderstandings and improbable coincidences.

Natali's film has a fabulous look, a nerve-wracking, claustrophobic mood, a number of genuinely suspenseful set-pieces and some sublimely stomach-churning special effects.

The story is slim but the jazz is great, especially when legendary Louis Armstrong gets into the act.

As in BASKET CASE, director Henenlotter combines some disturbing gore with an offbeat sense of humor that makes the entire disgusting exercise a bit more palatable.

Full of wonderful music, grand visuals, and melodramatic plot twists, the movie is laced with very funny moments, as well as interesting insights into the world of jazz and the plight of the dedicated musician.

Though director Guy Hamilton has tried to make the Christie formula more cinematic by trimming the number of characters and streamlining the plot, the picture is still rather uninteresting. Only the performances, the lovely location, and some Cole Porter tunes make it worth watching.

The moral message gets a bit too preachy at times, and the performances are somewhat wooden.

The story is told with uncharacteristic restraint and benefits from fine performances by Nelligan and Hirsch.

Jonathan Demme's characteristic generosity toward his characters and refusal to make absolute moral judgments are strong points, while the feminist subtext adds freshness to the story.

This often-funny film fails to sustain its premise through its entire length. Cambridge is hilarious in his role, but many of the gags are cliched, uninspired, and just what one might have expected from the situation. In order to work, comedy must offer surprises.

In capturing the compelling battle between a boy and his abusive stepfather, director Michael Caton-Jones cannily avoids obvious sentimentality, opting to let a rather brutal story tell itself.

The result is a raucously funny and poignant love letter to standup comics.

A visually inventive and energetic pop musical.

While nothing to rival Hitchcock, the film's look and direction make it a worthwhile effort. Doris Day makes the switch from light comedy to suspense fairly well, creating a believable victim, while Harrison, his usual debonair self, adopts a sinister air.

A rather sorry excuse for a horror film--even Peter Cushing's distinguished presence doesn't help.

Although Benny used this film as a running gag on his radio show for years (claiming it had ruined his movie career), there are some comic gems here, especially in the smash finale.

[A] bold and brilliant rendering of Henry James' masterpiece.

Russ Meyer's Beyond the Valley of the Dolls is an outrageously entertaining cult classic, and probably one of the most bizarre movies ever produced by a major Hollywood studio.

As a visual counterpart to some of the most sublime verse ever written, it's often thrilling.

Happily, a feeling of genuine comradeship among these athletes shines through, and their irreverent, go-for-broke comments are a jolt of fun compared to the usual canned epigrams from pampered sports multimillionaires.