By the film's end we feel neither sympathy nor, oddly, total disgust for this most loathsome of killers. We simply begin to understand, and perhaps that's achievement enough.

It's the perfect "smackeral" of adventure for youngsters craving Pooh Bear and his pals.

The script, the direction and finally, Fonda's acting choices capture nothing of what made Hellman a true piss-and-vinegar original.

The world of professional golf gets the Martin and Lewis treatment in this mildly funny film.

Neither a conventional documentary nor a work of complete fiction, Hammer's film constructs a secret history, part imagination and part reality that is both revealing and slyly entertaining.

An astonishing act of synthesis, bringing together disparate Ripper theories and a fiercely idiosyncratic version of London's history, architecture, policing and social structure.

Solid, old-fashioned narrative moviemaking with just enough no-budget cachet to disguise its essential blandness.

Multi-character drama that reveals a vivid cross-section of the city's inhabitants but fails to live up to the director's high ambitions.

Tom Gilroy's debut feature is a little obvious, but it's an excellent showcase for the criminally underused Ned Beatty.

The Turning Point features a few laughs, lots of maudlin moments, superior dancing from a host of real ballerinas, and an occasionally perceptive script.

Apparently intended as a larky, character-driven adventure with dark underpinnings, this attenuated road movie was originally envisioned as a vehicle for relative unknowns, and might have worked better that way.

Despite a disappointingly obvious ending, Ricochet is a brutally entertaining film.

Stewart seems uncomfortable playing an intellectual; his dull performance never displays the disturbance or authority that it needs.

The comedy is fairly light and the romance decidedly offbeat.

The film's energy and style are enough to recommend it. Lovers of the original should be pleased with this effort, as should most fans of the genre.

This efficient fright machine features a knowing cameo by Curtis's mom -- "Psycho's" Janet Leigh -- a couple of bloody good scares and a genuinely affecting performance from Curtis.

No matter that the setting is one of the most picturesque on the planet: cinematographer Jean-Max Bernard's camera would much rather linger all the skin and muscle Morel contrives to put on display.

Winslet and Keitel are perfectly matched, go-for-broke actors handed dramatic license to do a psychic striptease.

A military satire in the tradition of M*A*S*H and Catch-22, based on Peruvian novelist Mario Vargas Llosa's 1973 book.

Vincente Minnelli's film might have benefited from less emphasis on dialogue and more on the musical numbers ("Just in Time" and "The Party's Over" among them), but Holliday is adorable and efforlessly "real" in one of the best roles of her sadly abbreviated career.

An almost unrelenting barrage of gore, Dead Alive is also a constant assault on the funnybone, a film in which the graphic blood-spilling is taken so far over the top that it becomes hilarious instead of disgusting.

More comic book-like and less intriguing than the original, the film's punch-drunk cyber-mysticism still has a darkly seductive allure that sets it apart from juvenile, Star Wars-style space opera.

For the first time anywhere, filmmaking brothers Craig and Damon Foster capture this rare event as it happens, and it's something to see.

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.

The caliber of the cast, led by Mirren and Walters, elevates the material above movie-of-the-week level, and viewers can relish seeing these fine actresses play against type.

Quite enjoyable on its own terms.

On the downside, it's slackly edited -- comedy is, after all, all about timing and there are way too many lengthy shots of Cho waiting for her audience to respond.

A very expensive caper picture that drowns in its own artiness, using multi-images, cinematic tricks, and other pretentious film gimmicks--all of which detract from the story.