Scorsese's rich tapestry is both broader in scope and more detailed than a mere recounting of the events in the trio's life of crime.

The film serves as a potent reminder of what conditions were like in Afghanistan before the U.S. bombing campaign ended the Taliban's reign of terror, and, as such, its timing couldn't be any better.

A searing showcase for a remarkable ensemble cast.

Jane Campion has established a reputation for making slightly off-center films in which regular folks get glimpses of the darkness that lurks beneath the surfaces of their lives. An admirer of Frame's novels since she was a teenager, Campion builds her film around a heroine who defies Hollywood conventions; she's not beautiful or sexy or sophisticated, and her adventures are mostly intellectual.

A hilarious mixture of Errol Flynn swashbuckler and Monty Python send-up...When it comes to pleasing both kids and adults, you can't do much better.

Far more than mere fish tale, Sauper's dark, devastating documentary profiles a socio-ecological nightmare with unimaginable consequences, and it's one of the best films about the ugly reality of the global marketplace.

Though there is obviously more polish and a lavish budget in this remake, the 1956 version of The Man Who Knew Too Much has no more or less impact than the first version.

A tightly woven tapestry of extraordinary breadth, and director Fernando Meirelles's control over the material is extraordinary.

Strong stuff, intensely watchable, but definitely not for children.

This film is a fairly well-balanced effort, and if you're in the mood for an evening of obvious sentiment, this boy-and-his-dog film works quite well.

Breaking Away is a very funny and touching story about love, growing up, bicycle racing, and class consciousness.

A fascinating allegory of life in Iranian Kurdistan, a remote borderland still deeply scarred by years of war with Iraq.

DeVito films this tale with a fiendish gusto, yet with psychological realism and meticulous attention to an inexorable logic in the plotting, even as the Roses' war moves from the outlandish to the surreal.

Fontaine's thoughtful character-driven screenplay is the perfect vehicle for Berling and Bouquet and both are superb. As father and son, they play off each another in fascinating ways as the film moves towards its perfectly modulated, intriguingly ambiguous final moment.

The shadowy photography, great editing, snappy dialogue, and a moody synthesizer score by Carpenter himself make this one of the most successful homages to the Hawks brand of filmmaking--and a very impressive film in its own right.

A rare adaptation that actually improves upon the original material: It's everything a good children's adventure tale should be, and a powerful fable for adults.

Director Brest does a great job with a sensitive subject, drawing fine performances from everyone.

The climax is a workmanlike rise of psychological terror, but the whole exercise looks self-consciously careful.

Innovative sounds and striking visuals combine to form an exquisite cinematic work.

Wildly entertaining and a visual delight.

Allen has infused it with wit, a superb cast and his usual "the best direction is the least direction" style.

Brilliantly told and well-acted, Polanski's half tongue-in-cheek, lugubrious and sinister filmic style seemed quite refreshing at the time.

It's as chilling as Algernon Blackwood's elegantly unnerving "The Willows," played absolutely, unsettlingly straight.

The second version of Graham Greene's sad and prescient 1955 novel about American involvement in Vietnam hews far closer to the book than the first, preserving the sophisticated ambiguity of his depiction of a tangled struggle for power played out on both personal and political fronts.

Sexy and soulful like the smoothest slow jam, writer-director Theodore Witcher's debut feature is a classy, surprisingly accomplished romantic comedy focusing on life and love among of a group of young African-American Chicagoans.

The onslaught of one-liners and sight gags in AIRPLANE! is so relentless that even the most dour viewer is ultimately won over--or exhausted.

Richly plotted, alternately inspiring and horrifying, Glory is an enlightening and entertaining tribute to heroes too long forgotten.

The picture's uneasy but perfectly calibrated mix of brutal violence and goofy humor is pure Kitano -- the scenes in which Murakawa and his henchmen play a variation on "Rock'em Sock'em Robots" with paper sumo wrestlers is just too bizarre -- and its convulsively nihilistic ending is unforgettable.