An affectionate tale, told with sensitivity and a wonderfully offbeat sense of humor.

This is a brave, groundbreaking film.

An interesting, often absorbing offbeat western with excellent production values.

A suitably glum yet cathartic film experience.

Moodily filmed in an effectively Germanic style, with a neat supporting turn by Calthrop and fine set pieces such as the chase through the British Museum, BLACKMAIL still plays well, and is a suitable precursor to the master director's later work.

Smith relies on the audience’s memory, anger and sense of community to explore a wide range of conflicting facts and emotions. The ambivalent trust forged between performer and audience as they journey through Newton’s story is kinetic and revealing of both sides.

His (Finkiel) ability to control economical dialogue with subtle but unusually powerful images -- haunted faces peering out from behind foggy bus windows; train tracks that once carried other passengers to a death camp -- lend this quiet, unforgettable film an uncanny power.

Once Kim and Heidi finally meet, it becomes something much more complex: a gripping drama of culture clash and familial responsibility that also serves as a stinging metaphor for U.S. involvement in Third World nations like Vietnam.

Straight Time is a powerful film that shows a criminal as he is. The film has no tired explanations for Hoffman's behavior, no fingers are pointed, no apologies or excuses are offered.

If any film can be considered required viewing as the conflict in Iraq continues to drag on and be reported, surely this among them.

More of the same from Taiwanese auteur Tsai Ming-liang, which is good news to anyone who's fallen under the sweet, melancholy spell of this unique director's previous films.

The film features a host of fine character portrayals and a compelling climax that compensates for its length.

THE SEA WOLF contains little of the prolixity of Jack London's philosophically oriented novel, yet it is true to the spirit of the book. The megalomania of the ship's master is wonderfully expressed in Edward G. Robinson's fine portrayal of the contemptuous captain.

The rare sequel that actually improves on the original, this robust entertainment's intelligence and emotional impact belie conventional wisdom that summer movie spectaculars are by nature brainless nonsense and only a stupid snob would complain about their cynical insubstantiality.

Serves as a powerful tribute to a group of heroes who gave those they saved something nearly as valuable as life: proof that the best of the human spirit can endure even through the worst of times.

Andersson creates a world that's at once surreal and disturbingly familiar; absurd, yet tremendously sad. The haunting score is by ABBA's Benny Andersson.

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

Richardson's direction of this unhappy little gem gives off the appropriate dull glimmer while being economical and inventive.

The film burbles with delightful dialogue and a sparkling sense of life.

Bette Midler turns in a magnificent performance as a dissipated, Janis Joplin-like rock singer.

One of the best things the highly variable Jane Fonda has ever done.

Though the story meanders, the film's look is nothing short of breathtaking.

I like Amanda Bynes movies…and I’m a dork!

A love triangle played out on the Isle of Man is the basis for Alfred Hitchcock's last silent film, THE MANXMAN, an uncharacteristic example of Hitchcock with tongue out of cheek.

Although comparisons with Steven Spielberg's Raiders of the Lost Ark are inevitable, it is the interplay between Turner and Douglas that gives the film its real charm. Norman and DeVito score strongly in roles that would have been played by Sydney Greenstreet and Peter Lorre 30 years ago, and the whole film has the feel of an old Warner Bros. thriller with broadly comic overtones.

All the paraphernalia so important to the image of the Reich, particularly the uniforms, are painstakingly rendered, bringing a heightened sense of realism to what might otherwise have been a romantic coming-of-age tale.

Overall, Pocahontas is a triumph as a visual experience (though the music is unusually bland), but a disappointment as a film.

Fitzmaurice directs with great style here and makes the most of the lavish production techniques available to him.