This is easily Payne's funniest film to date, yet the comedy never undercuts the difficult emotions with which the characters are dealing.

Hitchcock's most liberated and poetic film, Marnie is a masterpiece of psychological mystery that encompasses all of the director's obsessions.

What ultimately saves the film from both silliness and ponderousness is not its simplistic social message, not its now-stale theme, nor its disappointing characterizations, but rather the dazzling cinematic (and theatrical) bag of tricks which Lang and company employed to keep things moving.

A vivid and carefully produced work of poignancy and loss.

After years of work-for-hire, writer-director Wong Kar-wai found his creative voice, discovered his themes and styles, and solidified his collaborative creative team with this brilliant examination of one-way love and crashed relationships. (Review of Original Release)

It's a mixed blessing, in some ways even richer and more atmospheric than the original version, in others attenuated and logy.

Paul Muni gives another classic performance in this wonderful fantasy about a notorious gangster who is murdered by a double-crossing partner.

And while this director's cut doesn't really differ all that much from the original 1979 release, it contains a few minutes of never-before seen footage, including one serious bitch slap and an entire scene in which Ripley stumbles upon a few not-quite-dead crew members whose terrible fates foreshadow James Cameron's 1986 sequel.

A beautifully realized tale focusing on an ambitious but unfulfilled group of intellectuals, who react in differing ways to the illness that befalls their mentor, a brilliant writer (Francois Cluzet).

Although the film is often brutal, there is such a positive sense of morality displayed here that Shane should be seen by the whole family.

Although the lead trio does well enough, the presence of cinema's greatest musical comedy team fairly blasts the screen lovers into orbit whenever either or both of them are onscreen.

Tough-minded, moving study of a working-class housewife's mental breakdown, enhanced by superb performances from Rowlands, in the title role, and Falk as her husband.

THE MOTHER AND THE WHORE captures a sense of realism rare in any type of film, bringing us deep beneath the surface of the characters' exteriors.

Meticulously observed and devastatingly well-acted.

A perversely fascinating movie--one that answers no questions, offers no hope and has little meaning. In a way this is perfect for what the film has to say about war, but you find yourself numbed and apathetic as the film progresses.

If you've never seen a martial arts movie, this is a great place to start.

The film stumbles a bit towards the end (some deeply rooted conflicts are implausibly resolved), but terrific performances from a large cast -- particularly Elizabeth Pena as Sam's childhood sweetheart -- smooth over the rough spots.

The Last Detail is a gritty look at the military life and the people who are attracted to it. It is dark in its message and gray to the eye. Locations are all washed out as though there were a thin membrane of filth spread across everything except the leads, who pop out colorfully like three strawberries in a bowl of Cream of Wheat.

This film captures the disillusionment of returning WWII vets, and brilliantly addresses itself to many of the director's characteristic concerns--masculine fear of domestication and attendant resentment of women; the tensions of masculine friendship; women's complicity in their own oppression; the compromises demanded of artists functioning under capitalism.

When it's good, very good; when it's bad, a stinker.

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.

Visually dazzling, touching and funny.

A huge, sprawling western with just about everything: brilliant photography, superb music, an intelligent script, and excellent performances, including one from Heston that is one of the best of his career.

It's nothing less than an examination of the very meaning of family.

Anderson strikes a near flawless balance between looseness and structure, and indulges the occasional flight of cinematic fancy without undermining the movie's emotional integrity.

Lawrence B. Marcus's script, which pits real life against reel life, offers plenty of wit, with most of the bons mots handed to O'Toole.

The animation here is better than average, though not quite up to the quality of Disney Studios in its heyday. Still, this film has a lot of heart and is wonderful entertainment for both kids and their parents.

A thoughtful, atmospheric thriller.