A generally gripping actioner, the film can also be read as a percipient satire of a society irreparably split along lines of class and race.

A gorgeous, fluid, wonderfully exhilarating movie.

The funniest, savviest political comedy to come our way in some time.

Not many films have the power to change how one sees other people, but this remarkable anthology of loosely connected shorts from writer-director David Riker just might.

It lacks the vision, and the fully defined characters, of "Boyz (in the Hood)." Tyrin never becomes more than the sum of his conflicting impulses--he's a composite sample of a social group rather than a fully-fledged individual.

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

It offers a rare opportunity to watch a world-class playwright bringing one of his own works to life; rarer still, Almereyda puts his notoriously reticent subjects so sufficiently at ease that they actually sit down and discuss their craft.

The film is a trifle long too long for its rather slim mystery, but in face of so much beauty and invention that's a small quibble.

Excellent performances from Jacqueline Bisset and Martha Plimpton grace this deeply touching melodrama.

Arteta wrings some laughs from their bizarre (and more than a little frightening situation), but they're uncomfortable laughs, emotional protection from the freak show.

Opening with the Mohandas Gandhi epigram "An eye for an eye makes the whole world blind," it humanizes the bombers without excusing their actions.

Scorsese's canny use of archival footage makes it more than a mere concert film.

A film with uncomfortable things to say about the nature of heroism--and one to see for that reason.

One of the best comedies MGM made in the 1950s. Although Taylor perfectly embodies an idealized vision of the demure but spirited young bride, this fine film is foremost a showcase for the supple comic drollery of Spencer Tracy.

Directed by actor Malden, the film is a tightly structured piece that forces its audience to think about the difficult issues it raises. Malden makes excellent use of his cast, wringing out emotion without bathos and adding flashbacks to Korea at crucial moments.

Generally free of the party line one usually associates with Soviet films of its period, THE CRANES ARE FLYING is an antiwar love story, set during WWII, which centers on the romance between pretty young Samoilova and sensitive factory worker Batalov.

It didn't sound like fun to us, either, but we were wrong; Heat scores on many fronts...The plot, though it seems to ramble, builds suspense with deft precision, and the action set pieces are triumphs.

The cast deliver consistently fine, subtle performances, underscored by Ben Nichols' mournfully melodic guitar score.

Fishburne and Bassett are both extraordinary, and though the story is inevitably slanted to Tina's perspective, Fishburne makes Ike a complex and compelling presence.

Offers what her fans came to expect from the "Jezebel of Jazz": great music.

Dashiell Hammett's snappy banter and cynical worldview were kept intact by Frances Goodrich and Albert Hackett, making this production all the more delectable.

A welcome introduction to yet another facet of an artist who continues to beguile well into her seventies.

Dunn's elegant, full-length debut presents a frightening and powerful argument against the kind of reckless, profit-driven land development that not only threatens natural resources, but life itself.

The title of the film is most unfortunate because it gives no indication of the film's stark theme. Moreau is good as the disenchanted woman, but Mann is less effective.

This strange and beautifully expressive film set in a remote Mexican canyon has nothing whatsoever to do with Japan, but its themes are as universal as they come.

Expansive and undeniably brilliant.

The humor is spotty but when it works, it is hysterical. Raves go to Terry-Thomas for producing some riotous comic moments.

The mise-en-scene is packed with colorful, often shocking images (blood and body wastes are recurring motifs) but orchestrated in a creative delirium.