A moving look at the choices parents make on their children's behalf, and the reasons behind those choices.

Bertuccelli's heartfelt film affords a unique peek into the hearts and minds of a generation who, after having been awakened from the lie they'd been living all their lives, must now face the aftermath of an entire nation's failure.

Aided by a superb script from playwright John Guare, director Louis Malle pulls off a minor coup here, celebrating his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are.

A great movie is something more than the sum total of all its parts, and here, the elements all come together to form a feature that speaks a universal form of optimism that isn't likely to get lost in translation, no matter where it screens, or who is watching.

It's all confusing, woozy and slightly stoned, and feels very much like adolescence.

GIANT confirms Taylor's skills as an actress; she's entirely believable even when she ages by just having her hair greyed.

Steven Soderbergh's direction conjures an understated '70s vibe, striking an apparently effortless balance between grit and glamour.

Blindingly obtuse, excessively morose, the film is nevertheless dazzling in its inventive and massive sets and spectacular in its techniques...A powerful work that is both bleakly funny and breathtakingly assured.

By turns awe-inspiring and deeply human.

Feels astonishingly fresh, filled with subtle performances and devastatingly understated images - Sautet's final shot of Davos alone in a Paris crowd is a killer.

It all has an artless, ephemeral feel, and 20 years from now people will marvel at the fashions, the landscapes and the attitudes it captures like fragile bugs in amber.

From a technical perspective, it's undoubtedly the most impressive and authentic concert film ever made.

The screenplay, which differs significantly from the novel, is uneven, but the distorted mirror it holds up to the present is disturbingly clear.

A film whose "TV movie" feel is at once incredibly appropriate and a notable drawback, Broadcast News is nevertheless worthy adult entertainment.

Wildly entertaining and quite poignant.

Warm and utterly beguiling fable.

The acting is flawless throughout, with top honors going to Davis, who blazes through the picture with devastating intensity and honesty. It's an urgent, unsettling performance, perfectly complemented by Pollack, who projects quiet ease and authenticity in this, his first major role.

KING AND COUNTRY is a grim indictment of the arrogant, simple-minded mentality of the men who send their fellow citizens off to war.

The usual fine performances from Bergman's regulars combined with a script that is not as ponderous as much of the director's other works earned THROUGH A GLASS DARKLY an Academy Award for Best Foreign Film of 1961 and an Oscar nomination in 1962 for Best Screenplay.

This is one of the most infectiously joyous celebrations of musicmaking ever committed to film. See it and be ennobled.

May be the best film to date about the humanitarian and environmental impact of China's enormous Three Gorges Dam project.

Chaplin, as usual, is the whole show, superb in this swansong statement about his own career and the old-style entertainment he best represented.

This touching and beautifully photographed, if slightly overlong, tale of a boy and his horse follows the escapades of young Alec Ramsey (Reno), who is traveling across the ocean with his father.

Wise Blood, an unusual mixture of comedy, tragedy, satire and horror, is an uningratiating but haunting work.

Thought-provoking but proceeding at a crawl, the film suffers from performances that are virtually all pitched to the same note of existential ennui -- thank goodness, then, for Rush, who's arrives like a wake-up blast of compressed air.

Yates's direction is grimly taut, and Monash's screenplay pulls no punches. A bit gruesome, but potent viewing nonetheless.

The sets are as much a part of the story as the dialogue, and set designer John Bryan's work is effectively photographed by Guy Green. All the acting is first-rate, and there is not a false note from the cast.

Pure melodrama, but stylishly done, with finely tuned performances played out against meticulously realized settings.