A popcorn film that aims to entertain -- nothing more, nothing less -- and it achieves that goal admirably.

The film is ridiculously overplotted, and very little of the plot serves any purpose other than to motivate what you can pretty well guess is going to happen from the outset.

When all is said and done, Pacino is the riveting presence that makes the movie work and it is difficult to imagine any other actor in the part. (Review of Original Release)

Harvey Milk embodied the concept that "all politics is personal," and by presenting the famed Mayor of Castro Street's personal and public lives with such clarity and empathy, Van Sant has made something very rare in Hollywood -- a genuinely powerful political film that works equally well as a story of personal triumph.

Akinshina and Bogucharskij are remarkable together, and Moodysson once again demonstrates a sophisticated visual skill matched only by his innate understanding of the adolescent heart.

Written with enough self-consciously campy humor to defuse the paranoid ideologies running rampant here, FROM RUSSIA WITH LOVE is also acted with tongues held firmly in cheek.

Perhaps the movie's value, or lack of it, lies not in the input of the Beales, the Maysles, et al., but in the degree of seriousness audiences bring to the theater. Some viewers will be shocked, some will be touched, but, unfortunately, the spectators this sad story is most likely to attract, amuse, and vindicate are the sort whose obsession with the upper crust, especially its blue-blooded stratum, is fed by envy and spite--each an unhealthy attribute on its own, but poisonous in combination with the other.

Nobody shows much evidence of acting ability, and the script is full of holes. Nonstop action is what these films are about, and that's what you get here.

As in LATE SPRING (1949), Ozu eschews formula standards of dramatic convention by omitting the actual scene of the wedding ceremony, choosing instead to focus on its planning and consequences. The result is poignant and moving, and if EQUINOX FLOWER is not one of Ozu's greatest films, it's still a gentle and touching late work from this master.

The Naked Kiss is Fuller's most developed and unrelentingly bleak view of the dark underbelly of American society.

Babe could charm the pants off the most unregenerate cynic.

Tarantino maintains a flawless balance between flat-out action, quirky dialogue, stylish homages to the glistening shadows of film-noir thrillers, the sun-baked brutality of Westerns (American and Italian), the ritualistic rhythms of Shaw Brothers martial-arts pictures from the 1970s and quietly dramatic moments, shifting between them with quicksilver facility.

Staunton is phenomenal - she barely speaks throughout the entire last third of the film, but the power of her posture and distraught expressions are enough to break your heart.

Called everything from a feminist statement to a gay camp-classic to an anti-McCarthyism allegory. While it certainly is all of these--and more--it's about time it was acclaimed for it what it really is: a genuine western film classic.

Does find a spot closer to the middle than most.

The film is a harrowing, painfully honest, sometimes violent journey, astonishingly acted and rendered.

Animator/fabulist Hayao Miyazaki pays homage to Hollywood’s wartime adventure films in this masterwork built around the adventures of a high-flying pig.

Generations of healthy spirits were twisted and deformed by the good Sisters of Mercy, all in the name of salvation.

Poking fun at its American mythos, but never descending into camp comedy, this sequel makes for a wonderful time.

The story, a romance with an interesting detective twist, is combined with exquisite caricatures of both humans and dogs.

Straightforward, energetic, updated Bard. 28-year-old star-director-adapter Kenneth Branagh's spellbinding version of Shakespeare's Henry isn't superior to Olivier's 1944 version - it's different, and complementary to it.

Superb performances by all involved, restrained direction by Wise, and a magnificent and innovative score by Bernard Herrmann help keep this 35-year-old film just as relevant today as it was the day it was released.

Vastly overrated Crooks-R-Us--this time you wear the moustache, enhanced by fine period trappings and flavor. Ultimately empty stuff, but preferable to "Butch Cassidy."

An icily seductive parable about family, power, unconventional justice and the perils of answered prayers.

A mystical and exotic story of love and destruction, a film for which both star and director became legends.

An intoxicating dream of a film that speaks to the daydreamer in all of us.

Obviously filmed on a budget, production values leave much to be desired, but the power of the performances and the claustrophobic yet exciting atmosphere caught by the film more than make up for that.

Tim Burton's grand guignol fantasy transforms Stephen Sondheim's 1979 musical-theater piece into a cheerfully gothic morality tale.