Both Robertson and Keuck are frighteningly good, and director Coccio imagines their home movies so effectively that his film comes dangerously close to being a how-to manual for aspiring classroom spree killers.

The Racers was the first big-budget Hollywood treatment of motor racing, and its very exciting racing footage almost compensates for the slim plot.

The movie's secret weapons are its stellar cast, whose performances go a long way to ameliorating Ross's ham-fisted use of foreshadowing and symbols, and its brilliantly shot racing sequences -- they're heart-stoppingly suspenseful even when the outcome is a matter of record.

Fox falters a bit with the narrative, but offers a fascinating treatment of the issues facing the descendents of Jewish victims and their German persecutors, as well as one of the most chilling birthday parties ever filmed.

A funny, perceptive and seductively engaging movie.

Rocky III crawls along without dramatic impetus, failing to convey the big emotions and missing the humor of the first two films.

The whole lighter-than-air lark whizzes by like a brisk, kandy-kolored dream of the 1960s, flavored by a Saul Bass inspired credit sequence; a slinky, Henry Mancini-esque score; and a stunning array of period sets and evocative locales.

A humorless Greek-tragedy western with little going for it save its inexorable momentum toward the obvious end.

Cox, a fifth-generation Mormon whose own story isn't too far from that of Elder Davis, shows how much of Aaron's strength derives directly from his faith, while even the most homophobic of Cox's characters demonstrate a capacity for both charity and, possibly, change.

Excalibur is a grand, clanky, brooding fantasy.

A little commentary would have helped put the tragedy of the Hillbrow Kids into sharper perspective.

Overlong but interesting thriller.

The film is sponsored by Lockheed Martin with the cooperation of NASA, both of which are deeply involved in the development of the ISS, so it's not surprising that none of the questions that have swirled around this project -- like, who'll foot the bill if any one country defaults on its contribution? -- are answered, or even addressed.

It's all cutely derivative, occasionally charming and very occasionally clever...but the movie's vague aspirations to being something more than disposable fluff never amount to anything.

Despite the inaction, the film culminates in a scene some viewers will no doubt find shocking.

Following surgery Wayne wanted to prove he was still physically fit, and his role here certainly goes to great lengths to show it. Wayne rides, shoots, and fights as though the worst that had happened to him was a touch of the flu.

The thin line between self-esteem and hubris is explored in this cautionary tale.

The animation is truly breathtaking, the action sequences are spectacular (and sometimes very violent) and everything floats along on the strains of Il Won's spare, hypnotic score.

Imagine "Hansel and Gretel" by way of "The Texas Chainsaw Massacre."

A flawed though compelling eye-opener.

The energy is infectious, and while the female empowerment angle is no doubt sincere, the whole up-tempo construction jiggles a bit too much to be taken seriously.

It's a kiddie movie rejiggered for childish grown-ups, of whom there are enough to make it a hit. How such childishness has become a virtual secular religion is hard to imagine.

Ricci's less flashy characterization of the immature Selby is equally skilled and meshes seamlessly with Theron's uncompromising performance.

Aside from Bjork's astonishing performance, it's a grim tragedy that's deliberately drab and exceedingly painful to watch.

His (Crowe) emotionally charged performance stands in contrast to Ryan's annoying, movie-star turn.

Modest, on-the-money performances, which look effortless because they're so meticulously thought out, make the hours fly by.

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.

If you're rooting for Barrymore and Fallon, then why not their team? In the movies, there are enough happy endings for everyone.