Nancy Sinatra sings the wistful title song, and the action scenes are enhanced by some of composer John Barry's best work for the Bond series.

Delightful Bolivian comedy, which also works as a sly critique of mass media.

Hackman turns in his usual solid performance, and Glover is strong as the pilot who develops a deep empathy for the officer, although the device of having the men interact almost entirely by radio limits development of their relationship.

Brisk, engaging story.

In the end, you're left to pick your moral: Money changes everything or money isn't everything or both.

Rob Zombie's pitch-perfect evocation of '70s horror films about monstrous families and the unfortunates who cross their path is one of a handful of sequels that both improve on their sources and play perfectly as stand-alones.

More a remake than a sequel, this production seems like a pointless effort. With a plot virtually identical to that of the first film, the only real difference between the two--and it is significant--is that Spielberg didn't direct this one.

A modest but well-done film with a little something for everyone.

Visually striking and viscerally repellent, director Denis Villeneuve's Quebecois oddity offers a nightmarish vision of one woman's unraveling, the likes of which haven't been seen since Roman Polanski pushed Catherine Deneuve off the deep end in "Repulsion" (1965).

A paralyzingly beautiful documentary with a global vision: an odyssey through landscape and time, which is an attempt to capture the essence of life.

The sheer force of imagination that produced the film's unique mix of different styles, musical numbers and hipster doggerel is extraordinary.

Beesley's film is perfectly in sync with the Lips' unique vision.

This stunningly photographed documentary captures extraordinary images of ocean-based life.

It neither works as a stand-alone film nor captures the thrilling sense of somber, pulpy mystery that made "The Matrix" so compelling. Nevertheless, It brings the saga to a satisfying close, and relies less on the clumps of pop-mystical cyber gobbledy-gook that gummed up the gears of "Reloaded" and more on the powerful emotional bonds that bind Neo, Trinity, Morpheus, Niobe, Link and Zee.

Ironically, as the former U.S. ambassador to Saudi Arabia Chas Freeman, puts it, Iraq has become what the Bush White House insisted it was at the very beginning, albeit for altogether different reasons: a battlefield in the war against terrorism.

The nonstop pace may eventually numb viewers to the thrills, although Spielberg must be congratulated for adding some shades of character to his archetypal action hero this time around.

A giant leap forward in Stephen Chow's ongoing assault on Jackie Chan's status as reigning balletic clown-master of martial-arts mayhem, this extravagantly nutty crime comedy is a work of some kind of genius. Not everybody's kind of genius, to be sure.

God moves in mysterious -- some might say positively spiteful -- ways in this trio of scabrous tales adapted from short stories by "Trainspotting's" Irvine Welsh.

This sweet trifle is infinitely more enjoyable than the gross-out romantic comedies that proliferated in the wake of "There's Something About Mary."

Half as interesting as a rerun of Falcon Crest and twice as long.

Say what you will about (Smith's) sense of humor, genuine faith is rare enough in popular culture to make any sighting worthy of note.

The wholly invented character of unattainable love interest Julia Cook (the real Kelly once referred to an enigmatic "Julia" in a letter) is the film's weakest link and smacks of a desperate attempt to shoehorn a pretty woman into a story about grubby men with tangled beards.

Written by Tom Holland, who would go on to write and direct FRIGHT NIGHT and CHILD'S PLAY, the script does a nice job of translating the awkwardness of adolescence into a horrifying event.

An acid-dipped valentine to the sometimes seedy magic of movies.

Its power lies in the intense, subtle performances of the ensemble cast and Bellott's ability to keep the tangled narrative threads from becoming a knotted mess.

Neo-Gothic fantasist Tim Burton and writer John August (Big Fish) play it strictly by the book for this darker but far more faithful adaptation of Roald Dahl's cautionary 1964 young-adult novel.

Khoury may be a few years too old to play a minor still squirming under her father's thumb, but her performance as a timid young woman who finds strength while looking for a husband is quite affecting.

A topical comedy that's about 25 years too late.