Though Costa-Gavras clearly has a political axe to grind, he manages to do so without haranguing the viewer, keeping the film's focus on his characters and masterfully building tension as the story moves toward its stinging resolution.

An intoxicatingly beautiful, maddeningly elliptical and utterly enthralling meditation on the fleeting pleasures and haunting aftermath of doomed romance.

A marvelous black comedy full of wit and journalistic wisdom in the grand and capricious style of Hecht (he and Charles MacArthur co-wrote The Front Page), this film is all the more stunning thanks to the outrageous and hilarious performance of super comedienne Lombard.

A giant leap forward in Stephen Chow's ongoing assault on Jackie Chan's status as reigning balletic clown-master of martial-arts mayhem, this extravagantly nutty crime comedy is a work of some kind of genius. Not everybody's kind of genius, to be sure.

Curiously empty and instantly forgettable.

Van Sant casts a gently hypnotic spell that is not easily forgotten.

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.

Brisk, glossy and gloriously art-directed, Scorsese's lavish biopic is a pop trifle, engaging but not compelling.

For all its harsh realism, the film flows like a dream, albeit a highly unpleasant one.

This intermittently interesting symbolic tour through European history once again places ideas over aesthetics and technique.

Not quite as heart-wrenching as the original version, this remake is still pretty good and does benefit from being filmed in color.

A murder mystery wrapped in an experimental portrait of life in a rural Hungarian town, writer-director Gyorgy Palfi's engrossing feature debut is a breathtaking feat of filmmaking.

Powerful, humorous, and touching. (Review of Original Release)

Shattering social and sexual conventions, Last Tango in Paris stands as one of Bernardo Bertolucci's finer achievements.

Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast do still haunt one's viewing experience.

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.

Kubrick's liberal, anti-authoritarian reading of Anthony Burgess's very Catholic allegorical novel is morally confused but tremendously powerful... No serious moviegoer can afford to ignore it.

To better capture the extremity of Dengler's ordeal, Bale once again underwent the kind of dramatic weight loss that shocked audiences of "The Machinist," but he's downright plump next to the emaciated Davies, who looks like Charles Manson in the end stages of a hunger strike.

A worthy remake of the film noir classic THE BIG CLOCK, NO WAY OUT adds, among other things, a delightfully subversive twist ending. Good performances from a strong cast.

Funny moments can be found throughout, but it's mostly silly and scattered.

If a year in the life of a university department head doesn't sound like the stuff of a riveting documentary, please allow this stirring film by husband and wife filmmakers Bob Connolly and Robin Anderson to change your mind.

It's curious that the filmmakers choose to end the story without reporting on Weatherwoman Kathy Boudin's involvement in an ill-fated 1981 robbery of a Brinks truck in New York State.

Sleeper is a highly inventive science fiction parody that is typical of Allen's tight, well-edited movies. Costumes by Joel Schumacher are excellent.

More than just being about the making of FITZCARRALDO, the film is an incisive character study about a visionary filmmaker who seems to be oblivious to the fact that the making of his film is becoming as difficult and foolhardy as Fitzcarraldo's own struggles.

Bogdanovich's warmest film, featuring charming performances from real-life father and daughter Ryan and Tatum O'Neal.

Depp's tight, guarded performance is almost painful to watch, and Newell seems to have reined in the flamboyant Pacino, whose portrait of the mobster as a grumpy old woman may be his best work in years.

A sober, intelligent drama with surprising integrity.

A truly compelling psychological suspense story from Otto Preminger.