A film for fans of this alternate universe of movies that flourished as soon as the 1934 Production Code effectively excised most prurient, violent and otherwise titillating material from Hollywood films and withered in the '70s as mainstream movies finally caught up with the indies.

Pacino's no-holds-barred performance is either the reason to see this tepid thriller or the reason to avoid it. His evocation of a Sidney Falco-style flack worn to a nub by decades of trying to spin this dirty town is nothing if not bravura.

A breezy romantic comedy in which opposites attract against all the reasonable odds, this slight but thoroughly charming film benefits immeasurably from the assured performances of leads Juliette Binoche and Jean Reno.

The filmmakers seem to have meant to offer up a spiritual message about community and faith, but it's muddled and hard to find with romance, comedy and phenomenal gospel performances all fighting for the spotlight.

Cassavetes' film is unusually well-acted and lovely to look at, but his wholehearted embrace of saccharine melodrama and tendency to let scenes ramble on long after their point has been expressed makes for some slow going.

This gripping documentary contends that some shockingly sleazy efforts to undermine Clinton's character and authority were very real.

A Time to Kill seems to argue that America's racial problems aren't so bad because, even in the heart of bigoted Mississippi, a black man can get away with murder.

As a standard science-fiction film, 2010 is fine. It has all the right plot elements, dramatic tension, and eye-popping special effects. The performances are uniformly good, the space-adventure scenes are excitingly handled, and the reappearance of HAL 9000 and Dullea is downright eerie. Yet it's hard to get over the fact that the purpose of this film is to tear down all the awe-inspiring effects of 2001. The sequel simply fails to fascinate and awe us like the original did.

Offers a rare glimpse into the hermetic world of the Satmars.

Another infantile right-wing fantasy from writer-director John Milius, this cinematic embodiment of the paranoid delusions of militarists, survivalists, and television evangelists is definitely a film for the Reagan era. Red Dawn is simply too simplistic and inept to be taken seriously.

Director Joan Freeman, who cowrote the screenplay with her husband, Robert Alden, shows a remarkable talent for capturing the sights and sounds of this seamy world. Freeman works a gritty realism into the formula story, creating an always-fascinating tale from an ugly subject.

A perfect fairytale, adhering to The Princess Bride's standards of fighting, fencing, torture, and true love, without the ham-fisted moral element of so many of its fairy-tale predecessors.

The film is visually stunning, and Peckinpah makes great use of his Durango, Mexico, locations.

Under the direction of veteran Fleischer, this superior sequel to the plodding Conan The Barbarian boasts much more speed, skill, and ingenuity than its predecessor.

We're more likely to snicker at this marauding monster than scream.

The picture is long, beautiful, and dull.

Cassavetes' instincts are spot-on, particularly when it comes to casting Timberlake in what turns out to be the most important role in the film. He manages to be both reprehensible and deeply charismatic, and winds up stealing the picture.

Neither a buddy-buddy action-comedy nor a pyrotechnical showcase of explosions and stunts, NEXT OF KIN--an intelligently made and moodily atmospheric action melodrama--provides solid, satisfying entertainment while demonstrating just how effective a fully realized genre film can be.

The film is really little more than an array of sometimes imaginative images.

The rogue feminism of "Thelma and Louise," mix in some of "Rock 'N' Roll High School" punk-rock energy.

If you're charmed from the outset, this is an enjoyable trifle; if you're not, it never gets any less mannered and convinced of its own wit.

The set-up revolves around a draggy love triangle, while the climax -- slo-mo leap through the air and all -- could have come out of any direct-to-video action flick.

Amid the clutter, Weber -- who narrates but never appears in front of the camera -- occasionally allows a glimpse into his own mind.

An utterly formulaic, teen-oriented romance whose greatest asset is charming leads Julia Stiles and Sean Patrick Thomas.

Audiences, especially preteens, will be enchanted by Ella.

John Cleese supplies the voice of George's brainy and terrifically tolerant sidekick, a very unconvincing animatronic gorilla named Ape, but even he can't raise the level of humor above the harmlessly goofy.

Aimed squarely at little leaguers and their doting parents, Rookie of the Year is a modest fantasy that makes its comic fable appealing despite sporadic slapstick missteps.

Director Abrahams, working on his own for the first time, has some problems with pacing and with sustaining an essentially one-joke premise that never arrives at its big payoff.