This is family entertainment at its best: Intelligent and surprisingly unsentimental. And anyone who doesn't fall in love with those goslings has a heart of stone.

The movie sticks with you as few do: It's rewardingly authentic and emotionally real.

A smart but disappointingly conventional portrait of an artist who had little use for convention.

Fine ensemble acting (Alda and Huston are outstanding), evocative composition and design, intelligent writing, and spritely musical score.

In a glove-fitting role, Hutton blasts her way on and off screen as the sharpshooting Annie Oakley Mozie. (Review of original release)

What's best about Block's documentary is how well he captures his own shifting perceptions.

The cast is wonderful--especially McGavin, Billingsley and Petrella--the laughs are nonstop if rarely subtle, and the whole thing deserves to become a Christmastime classic.

While Corman may veer dangerously close to pretention, his crisp staging and confident visual style keep the film from collapsing under its own weight.

Carefully scripted and well acted, Stand and Deliver is sentimental and utterly predictable but better than many films of this kind.

Kramer vs. Kramer is, essentially, a television movie that was raised into the feature category by the excellence of the execution.

Featuring some strong performances from a cast that includes Dabney Coleman and Ally Sheedy, convincing re-creations of defense technology, and nicely modulated tension, WARGAMES is a generally effective message film.

While it may lack the sheer comic anarchy of their other work, Life of Brian may be probably the funniest collective efforts concocted by the British comedy troupe "Monty Python's Flying Circus," is their most sustained effort. (Review of Original Release)

The film represents a retreat from the explicitly political concerns of TO LIVE (which landed the director in serious trouble with P.R.C. authorities), but there's a distinct satirical subtext underlying Zhang's Chinese Gangland, a place of limitless greed, self-destructive ritual and fatal hubris.

Controversial filmmaker John Waters finally hits his commercial stride in this film, parlaying his keen social observation and great compassion for society's outsiders into a colorful and engaging comedy full of dancing, music and heartfelt nostalgia.

Here, writer Fraser and director Lester went back to the original and hewed closely to the source material, but adding a lot of fun. Some good slapstick combines with moments of real drama and menace to make this movie a winner.

In the film's most audacious break with the ultra-realism of the Dogme program, Bier inserts grainy visualizations of what Cecilie wishes for at a given moment -- a caress from the paralyzed Joachim, or a wave goodbye -- directly into the action.

What's most disappointing is the thoroughly cliched story.

It's a lovely tribute to an extraordinary talent whose music might have been forgotten, and you really couldn't ask for a more beautiful soundtrack.

There's little new here, but uniformly powerful performances (especially Owen's) give the tale unexpected power and depth, and the exotic details--like the elaborate tribal tattoos worn by Nig's gang, or the Maori chants Boogie learns in reform school--make the Heke family's descent into misery seem fresher than it otherwise might.

Compared to D.A. Pennebaker's previous feature DON'T LOOK BACK (1967), the warts-and-all portrait of Bob Dylan, MONTEREY POP seems very much an authorized presentation of its subject.

Set in 1879 in Natal, this magnificently staged, brilliantly acted film tells the story of the heroic defense by overwhelmingly outnumbered British troops of the tiny outpost Rorke's Drift.

A great play but just a good movie, Guys and Dolls fails to convey the charm that the magnificent stylized stage version brought to the unique world inhabited by Damon Runyon's characters, despite the collaboration of some very talented people.

Wonderfully droll, Cannes Camera d'Or winner.

While it's unlikely that her film will sway former fans who swore off the band for political reasons, that seems beside the point.

Sidney Lumet directs effectively, keeping the tension strong, and unfolding David Mamet's intelligent screenplay slowly but with maximum impact.

Alternately accessible and obscure, the film is almost too rich to digest at one sitting, but even if experiencing this remarkable films means latching onto just a few of its myriad ideas, it's still a richly rewarding encounter.

This amazing footage alternates with interviews that include more than a dozen surviving members of the troupe, whose recollections are by turn funny, touching and mind-boggling. What a time!

William Klein's film documents a turbulent time and an outsized personality, but the film's glories are in the details and its intimacy would be unimaginable in the rigidly spin-controlled atmosphere of 21st-century sports.