With grace and cleverness, mixing romance and comedy in a genuinely delightful way.

An intense, if slightly overlong, drama. The film is well assembled, and the performances are all quite good, especially Connery and Hendry.

Marker revisited (the film) in 1993 after the fall of the Soviet Union: He trimmed an hour and added a remarkably prescient coda: "Terrorism has replaced Communism as the ultimate evil."

The film is saved by the raw power of the performances, and especially, Richard Pryor's bitterly funny observations.

Besides its exhilarating style, the well-acted film works as an effective translation of the classic Greek myth into a Brazilian romance. (Review of Original Release)

Basilio narrates his tale with such wit and wisdom that one comes away from the film wondering how much youthful potential is slowly being choked to death deep within the bowels of the earth.

Few of China's Sixth Generation filmmakers have turned to their country's explosive economic growth and its attendant upheavals with so sharp an eye and so heavy a heart as Jia Zhang-ke.

The film's look and themes also recall those of Howard Hawks. Avoiding artful, fussy compositions, Tarantino constructs much of Reservoir Dogs from simple medium-shot long takes.

As an evocation of things past, THE SCENT OF GREEN PAPAYA is a remarkable and modestly enchanting film.

You don't have to know an arabesque from an alligator handbag to enjoy Daniel Geller and Dayna Goldfine's loving documentary about the various incarnations of the Ballet Russe.

Boorman's original script is razor sharp and very funny, and Gleeson's portrayal is nothing short of brilliant

Inventive visuals and funny bits abound, but the film's gritty look and unsentimental characterizations - Harry, Hermione and Ron are far from golden teens - ominously foreshadow the truly wicked shape of things to come.

There is much to enjoy in this movie, but just as much to yawn over. One has the feeling that this was a play that was never produced on stage but went directly to the screen from the typewriter. Since so much of it is dialogue with very little cinematic action, it just feels stagebound.

It's a great place to visit, even if you wouldn't want to live there.

The film has a gentle political edge, knocking Marxists and Christian Democrats with equal cheerfulness, and Troisi's self-deprecating humor, sly delivery, and melancholic charm are inimitable.

For all the flash and flutter, the movie overall lacks, well, HEFT.

On the downside, it's slackly edited -- comedy is, after all, all about timing and there are way too many lengthy shots of Cho waiting for her audience to respond.

Non-musical scenes that move the narrative forward are staged realistically, while the lavish production numbers reflect the star-struck imagination of one-time chorine Roxie, for whom all the world ought to be a stage.

But overall, Jackson goes for the magic by sidestepping every error of judgment and failure of imagination that brought the ponderous 1976 remake thudding to Earth before Kong ever did. He delivers three solid hours of breathless, enchanting entertainment.

The documentary is undeniably entertaining, but it suffers from an uneven selection of clips, sloppy historical research, and, ultimately, an overabundance of riches.

Releasing one's self to the new rhythm of this film can be difficult; the story is allusive, the Island history sketchy, and the precise relationships of the family members undefined. Yet, if her suggestive presentation escapes straightforward analysis, one cannot help but be mesmerized by Dash's unique vision.

The interactions between the raspy-voiced Hurt and various shallowly cheerful Americans are genuinely charming and dynamic.

Wildly entertaining and a visual delight.

Serrau effortlessly navigates the tricky transition from ruefully comic chick flick to gritty crime picture.

Davaa and Falorni's film does suggest that camels have inner lives as rich and complicated as the human beings with whom they live in such intimate proximity. But they're also wholly camels, matted, goopy-eyed, gritty with sand and quick to knee an adorable calf in the snout when its demands become annoying.

Under the sure directorial hand of genre veteran Marshall, Destry Rides Again is a well-paced western that seamlessly combines humor, romance, suspense and action.

Maverick Chinese director Jia Zhangke examines the rapidly changing face of China as its economy edges further toward a modified form of market capitalism with yet another complex, multicharacter masterpiece.

An exceedingly beautiful film, PICNIC AT HANGING ROCK seems to aspire to be an existential thriller of some sort. At times the film seems to tread in BLACK NARCISSUS territory with its depiction of barely controlled sexual hysteria and its eccentric lyrical quality. It's all pretty overheated and underexplained but this arty, vague, and possibly supernatural movie lingers on in the memory.