One of the Marx Brothers' funniest films, Monkey Business was their first to be written directly for the screen and is noticeably less stagy than earlier efforts.

Not only is it a reintroduction to a fascinating culture that has survived 4,000 years in a remote and most inhospitable climate, but it's also the first film ever directed by an Inuit filmmaker and featuring an all-Inuit cast.

Every frame gleams and the camel -- a double-humped wonder whose unusual majesty and quiet mystery drives this wonderful film -- is magnificent to behold.

This is absolutely not a film for all tastes, but it's a masterpiece of pitiless power whose audacious, ambiguous climax strikes a note of insane romanticism as haunting as it is perverse.

This exciting, ultimately bittersweet, film was shot cheaply on video, but is nevertheless filled with moments of artistry and invention.

The film not only stands as an important street-level document of that time, but makes a valuable contribution to the growing compilation of 9/11 storytelling.

Disney's first CinemaScope cartoon, Lady and the Tramp cost $4,000,000 and took three years to complete, but it grossed over $25,000,000, making more money than any other film from the 1950s except THE TEN COMMANDMENTS and BEN-HUR.

Celebrated Italian horror maestro Dario Argento (SUSPIRIA, DEEP RED) co-produced and provided the lively rock score with his band, Goblin. Though all of the performances are at least adequate, this is not an actor's movie. Believe it or not, this is a film about ideas as well as gore. Nonetheless, this is strong medicine and not for all tastes.

It's both funny and harrowing in the way that only a childhood nightmare come to life can be.

Perhaps more than any war film in recent memory, Kippur is about the actual work of combat.

Haynes took an enormous risk here, but thanks to his thoughtful script and an utterly sincere performance from Moore, what could have easily become a cold, calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking.

The horror of LaBute's articulate, self-deluded characters is that they're both sharply drawn and just vague enough that you can insert face here.

Although Baby Doll feels tame today, the cinematography and appropriately sleazy setting still have a sizzling effect, especially in a notorious porch-swing tryst between stars Carroll Baker and Eli Wallach.

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.

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.

It's a documentary, but the filmmakers couldn't have scripted a more revealing microcosm of profiteering and exploitation.

Resembles an Impressionist masterpiece come to life, and ends with a tremendously moving acceptance of art and mortality.

A darker, richer, and more elaborate film than the original; it suffers most from being just what it is: a middle chapter with no real ending. [Special Edition]

Suspicion is so grimly powerful that its Hollywood-style happy ending has infuriated audiences for years.

This wild and sometimes woolly fantasy is delivered in the customary chaotic Python style, resulting in an onslaught of witticisms and slapstick.

A film such as this, which relies on mood, atmosphere, and ideas, rather than plot, depends on its acting to be effective, and the entire cast is extraordinary, with Shelley Duvall and Sissy Spacek both giving their finest performance ever.

Powerful stuff from writer-director Li Yang that's both an uncompromising indictment of the human cost of China's evolving market economy and an nail-bitingly suspenseful thriller.

A bleak but mordantly funny portrait of three aimless characters who discover that paradise isn't such an easy place to find.

Even if the screenwriters were obviously inspired by the mega-success of ANNIE GET YOUR GUN, that doesn't make this funny, rambunctious entertainment a mere rip-off. Whether dancing, singing, or hamming it up as the legendary tomboy, Day proves that she was second only to Judy Garland as the Golden-Age Hollywood Musical's consummate triple threat.

A huge improvement over the original, Gremlins 2: The New Batch is surprisingly sympathetic towards the title menace, and surprisingly thought-provoking as extended commentary on modern life and morality.

Brilliant and sickening...A must-see that is guaranteed to ruin your day.

A superb sci-fi flick, FORBIDDEN PLANET offers an unusually intelligent script, exciting direction by Wilcox and generally good acting from a decent if rather dull cast.

The acting is uniformly superb, as is the rich, somber cinematography.