While maintaining the appearance of clinical objectivity, this sad, occasionally horrifying but often inspiring film is among Wiseman's warmest.

Extraordinary documentary.

The writing is sharp and often blithely cynical, although not above using a shooting star to put a lump in the throat. The tone, however, is at times dangerously uncertain.

Rosson's moody photography and Rozsa's moving score further enhance this film noir masterpiece.

Though the specifics of the story may be unfamiliar to Western viewers, its broad outlines and underlying themes are universal, and Christopher Doyle's ravishing cinematography transcends language.

Although the film is often brutal, there is such a positive sense of morality displayed here that Shane should be seen by the whole family.

A bracing cover of Ian Tyson's "Four Strong Winds," performed by no fewer than seven acoustic guitars, rounds out the set, but be sure to stick around for the credits.

Ever hear of a rock musical that actually rocked? John Cameron Mitchell's glorious adaptation of his acclaimed Off-Broadway show might be a first.

The cast is universally strong. Hackman, Freeman and Harris don't do anything they haven't done before, but the roles suit their personae to a degree where they approach archetypal status.

The film is surprisingly satisfying and meaningful.

Excellent, but nasty stuff.

That Ledger stands out in such a powerhouse ensemble is a tribute to his radically unhinged interpretation of a familiar character: The lank hair tinged seaweed green, the darting tongue and faint lisp that call constant attention to the ghastly rictus of his mouth, the nightmarishly smudged make up… taken together, they make previous Jokers feel like, well, jokes.

Excellent animation, marvelous color, and lovely music make Cinderella a delight all the way around.

Also featured are countless cameos from local superstars ranging from the Fall's Mark E. Smith to Mani of the Stone Roses, making the film an absolute thrill for fans of the Manchester scene.

Director Imamura effectively portrays some of the more negative aspects of the forces that have shaped modern Japanese people. In this manner the picture resembles his chilling films of teenage wanderlust made in the 1950s.

A smashing follow-up to SALUDOS AMIGOS, this is one of the most dazzling achievements of the cartoon genre.

This superior movie made the world aware of the plight of these children and money poured in to the UNRRA to help their plight.

THE SACRIFICE is about a number of things, none obvious and none remaining wholly consistent from one viewing to the next; it is a poetic vision, filled with the symbolism peculiar to Tarkovsky's imagination. It is also a visually stunning, hauntingly beautiful, brilliant piece of art.

For the most part, the result is a smashing success, filled with great performances and exquisite production design. But those final moments, in which the true nature of the story is revealed, are an unmitigated disaster.

Never the most optimistic of poets, Sokurov does suggest the possibility of dialogue on the individual level, and the hope that by asking difficult questions of one another, these mortal enemies can find answers and reach an understanding everyone can live with.

Boon's film is both funny and heartbreaking, a supremely confident mix of political satire, free-floating paranoia, fractured family dynamics and the kind of comedy that regularly reconfigures itself into tragedy.

Often confusing, especially during the first half, but Gabin and Ventura are well cast as hoods.

Racing through the sub, squeezing through tiny openings, director Wolfgang Petersen's camera brilliantly evokes the claustrophobia and clamor of undersea battle.

The film is flushed with bright light and cartoon hues, nicely accenting the fast-paced stew of incidents.

Andrei Tarkovsky's STALKER is a metaphysical allegory in the guise of a sci-fi adventure, that like most of this visionary director's films, alternates between mesmerizing brilliance and intense boredom.

A rare adaptation that actually improves upon the original material: It's everything a good children's adventure tale should be, and a powerful fable for adults.

The horror of the images is unforgettable, but what lingers are the small particulars of the survivor's stories, recalled as if it all happened yesterday.

A powerful, yet subtle, picture from Australian director Peter Weir, who has demonstrated quite a flair for mystical themes.