Racing through the sub, squeezing through tiny openings, director Wolfgang Petersen's camera brilliantly evokes the claustrophobia and clamor of undersea battle.

Not surprisingly, Bresson's stripped-to-the-bone adaptation eschews the traditionally heroic, spectacular, fabulous, and exaltedly romantic aspects of the legendary saga in order to lay bare the confusion and pain within the human soul.

KING AND COUNTRY is a grim indictment of the arrogant, simple-minded mentality of the men who send their fellow citizens off to war.

This semiautobiographical work by Federico Fellini was the first film to bring him a measure of world attention.

For once, Carrey is more than merely tolerable. He's actually good, and the film that ebbs and flows around him is something you won't soon forget.

Builds so gradually you probably won't realize it's a near-masterpiece until it's over, but there are hints along the way.

From the opening lines to the epilogue (one of the film's few misfires), this taut first feature from TV producer and novelist Henry Bromell sustains a taut mood of unease and isolation, and the ensemble performances (TV starlet Campbell's included) have the qualities of the highest-caliber stage work.

Ramsay's second feature is an extraordinary adaptation of fellow-Scot Alan Warner's acclaimed novel.

The kind of brainy human comedy that only this formidable French auteur seems capable of making.

A liberal film on the subject of homosexuality rather than the radical film some considered it at the time, Victim still stands as an intelligent film attempting to address an important social issue.

This is a movie with a lot of intelligence and ideas, about someone with a lot of both, for people who, even if they lack one or both of those qualities, appreciate them.

The Shootist is an uneven, elegiac tribute to a great career. The script leaves a lot to be desired, but is compensated for by some fine performances (especially Wayne's), Bruce Surtees' poignant cinematography, and Don Siegel's carefully paced direction.

Terminal illness, depression, suicide and one very angry young man: If there's such a thing as a kitchen-sink comedy, writer-director Lone Scherfig's sad but often very funny film is it.

Brilliantly edited from well over 100 hours of tape, the final two-hour film recalls Michael Apted's 7 UP series.

Nearly perfect.

The film's extra-special trick, the one that kicks in under your radar because it's so busy with all the flash, is that it makes you care deeply for Lola and Manni.

Sankofa succeeds, on both a personal and a political level, because of the immediacy with which it conveys human suffering.

This is a heartwarming film, superbly directed by ex-actor Tony Bill. Makepeace is excellent as the slight protagonist, and Baldwin is perfect as the brooding, misunderstood mammoth. Dave Grusin's score adds immeasurably to the tone.

Victor McLaglen gave the performance of his life as the scar-faced betrayer, Gypo Nolan, in this telling adaptation of Liam O'Flaherty's novel, directed by John Ford.

It's extraordinarily sexy: The atmosphere is all cigarette smoke and Nat King Cole songs, silk suits and tight sheath dresses.

A simple story carried into the stratosphere by the glorious music.

An extraordinary technical achievement.

Japanese auteur Hirokazu Kore-eda's most accessible film to date is also his most wrenching.

A hilarious tongue-in-cheek crime comedy, one of the finest to come out of the Ealing Studios during their most prolific years.

Moncrieff offers a rare, unromantic take on female adolescence as sharp as a razor: It cuts right to the bone.

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

The down-to-earth portrayals possess none of the stereotypes popular in media representations of prostitutes, and, as a result, are frighteningly realistic. A film with an interesting and provocative feminist edge.

In blending the personal worlds of these characters into a complete cosmology of the abyss, director Uli Edel (Christiane F.) and scriptwriter Desmond Nakano have transformed Selby's episodic book into an aesthetic whole that is greater than the sum of its parts.