Anyone unfamiliar with Chomsky's work may be unsettled by his unblinking critique of the U.S. policy at a time when patriotism is the order of the day, and while he fails to offer any real solutions, his conscientious perspectives on the questions remain invaluable.

Sandler's shtick is the main thing dragging down this otherwise pleasant romantic comedy, but he's come a long way since the crude, juvenile "Billy Madison" (1995).

John Carlos Frey's tough social drama has a slightly sensationalistic edge, but the disturbing fact is that all too much of his worthy film hews closely to the real-life experiences of undocumented immigrant workers.

Rough-edged but affecting drama.

Shimizu generates a sense of palpable dread in each segment, expertly manipulating tried-and-true scare tactics supplemented by a truly inspired use of spooky sound effects.

A slick, stylish sequel to Harper (1966), this private-eye film has Newman reprising the role of Ross MacDonald's cool gumshoe, Lew Harper.

By turns sophisticated and satirical, SO FINE runs the comedy gamut from high camp to low farce.

Routine Dangerfield vehicle in which he plays an inept, slobbish baby photographer who must give up his bad habits if he wants to collect a $10 million inheritance from his snooty mother-in-law. Pesci plays the ringleader of the smoking, drinking, overeating cronies that Dangerfield must resist. It's all an insult to the great Geraldine Fitzgerald, who must have wondered during filming if it had all come down to this. If you're not already a Dangerfield fan, remember he's an acquired taste--like Spam.

There isn't one laugh in this so-called comedy...The resulting situations are so moronic that the movie is unwatchable.

Goldberger, who made his debut with the similarly gritty and deliberately unpolished "Trans," tries to pull the novel's concerns to the surface, but much of its subtlety is lost. Giamatti, however, delivers yet another superb performance, turning what might have been a freak show into an unexpectedly moving experience.

Good-humored gore, ably directed by Ernest Dickerson (JUICE), formerly Spike Lee's cinematographer.

Falls disappointing short of its ambition to be both sympathetically straightforward and funny.

Goofy and inconsequential, but pretty damned cute.

Actor-turned-director Campbell Scott handles this enigmatic science fiction mystery with such gloomy restraint that it barely moves. That said, it never panders to audience expectations and is exceptionally well acted. Bill Tyler.

Surprisingly cohesive.

Should please undiscriminating fans. But it in no way improves on the clichéd formula.

The music is generally undistinguished, with the exception of the searing "Every Six Minutes."

This oddly flat serial-killer picture shows none of the baroque flair that characterizes the best of Italian horror filmmaker Dario Argento's work.

The plot's contrivances are uncomfortably strained, and ultimately your reaction to its featherweight story of love and serendipity will be determined by how charming you find the dithering, slack-jawed Janice.

Too much time is spent on the forced romance between O'Keefe and Holcomb, an attractive waitress, however, and the slapstick becomes utterly mindless toward the end (as if the producer said, "Okay, it's time for this film to really get out of control!"). Still, the laughs keep coming.

It's obvious that director Milestone could not control Brando for a moment and that the famous, sometimes brilliant actor directed himself. His is one of the most impossible performances in screen history, infecting Harris, who plays a sort of seagoing Iago and is equally hammy and unbelievable.

Lee Van Cleef (master of the menacing grin) makes the most of his role as the leader of a vengeful group of antiterrorists.

Predictable and dull, though sleazy brothers Borgnine, Martin, and Elam are terrific.

Surprisingly, it's not bad on the whole (in an Afterschool Special kind of way), and the young stars are uniformly appealing, especially Schuyler Fisk (Sissy Spacek's daughter) and CROOKLYN's Zelda Harris.

The film's sense of humor is relentlessly smutty. Rifkin attempts to wring laughs from gross food, breasts, garbage and sex with fat women. He is largely unsuccessful.

Despite all the props, costumes, and music, the film conveys no feel for the city, the period, or the seedy gambling milieu.

This wild and unexpected ride should delight younger children with its bright colors and constant chaos, while adults are likely to be charmed by the witty banter, subtle one-liners and a sweet father-son relationship that highlights the need for good communication.

It's overtly about provocation, set in a tony Danish suburb where a group of men and women living commune-style in an empty house are discovering their "inner idiots" by pretending to be developmentally challenged.