Though there is obviously more polish and a lavish budget in this remake, the 1956 version of The Man Who Knew Too Much has no more or less impact than the first version.

The result is discomfiting, funny and oddly touching.

Director Alan Rudolph, whose reputation rests on ensemble pieces, lets Scott's performance -- as skilled as his pyrotechnical turn in "Roger Dodger" (2002), but composed entirely of subtle notes -- anchor the film.

The result is an interesting hybrid of neorealist grit and star-driven melodrama, in which very real concerns about poverty and social injustice are mixed with a romantic subplot.

A nostalgic mix of corn, laughs, exuberance, and infectious songs.

Alexie, who adapted his own novel, bears responsibility for the movie's ham-fisted treatment of racial-identity issues, its tiresome jokes and the dated, throbbing-guitar soundtrack.

A continuous stream of verbal and visual gags that come so fast, you don't have time to realize how bad/old/corny they are.

Superb thriller...IN THE HEAT OF THE NIGHT was carefully directed by Norman Jewison, who avoids sentimentality and all the racial cliches that could have crept into almost every scene.

It's a great achievement, quiet enough to allow room for her excellent supporting cast -- but strong enough to be felt over James Horner's omnipresent, typically overbearing score.

The movie more than compensates for its biographical deficiencies with thrilling footage of a recent reunion concert which finds the Funk Brothers still in top form.

A very well made caper film full of action and rich with character.

Sure-footed thriller, beautifully photographed, with Ford's best performance thus far.

Given the dearth of outlets for short, noncommercial animation, fans of the form shouldn't miss this collection.

Suspenseful and very frightening, thanks to Robert Mitchum's lethally threatening performance and the frightened reactions of a pro cast.

Clift fell in love with his leading lady and helped her through her most difficult scenes, with spellbinding results.

It's about as subtle as a steel-toed boot to the groin, but actor Gary Oldman's gut-wrenching directing debut aches with grim honesty.

This superbly animated (but weakly scripted) tale was produced by Don Bluth, who left Disney Studios when he became dissatisfied with the quality of their animated films in the 1970s, taking a dozen of Disney's best animators with him. The result is a return to the lush, finely detailed animation seen in the best Disney features.

The movie belongs to Nelson, who displays a natural screen charm, but Rip Torn also contributes an excellent performance as a good ol' boy concert promoter.

What Guttentag and Sturman gain in dramatic immediacy, however, they lose when it comes to historical context, and the chance to offer insight into why such things occur in the first place -- and continue to happen today -- is lost.

Where Cassavetes often uncovered the grotesquerie underlying such desperate lives -- usually after one round too many -- Buscemi's vison is rooted in compassion and a quirky humor that's entirely his own.

Screenwriter Christopher McQuarrie's tough-guy dialogue and Bryan Singer's crisp direction give the ensemble cast every opportunity to shine, and they do.

Less spectacular but more effectively atmospheric than Akira, Ghost in the Shell should gratify anime buffs and may well hook the uninitiated.

But the soundtrack will delight anyone whose blood stirs at the strains of "I'm Coming Out," "Le Freak" or "Doctor's Orders."

Its vivid sense of place and time make it compulsively watchable, even at a running time of two and a half hours.

An imaginatively constructed soap-opera with a high-powered cast.

Precociously glib and never less than engaging.

Lepage maintains a leisurely pace and lets the narrative wander, but ultimately lands on the right side of the line between contemplative noodling and aimless navel-gazing, ending with an image that's simultaneously melancholy and playful.

In this celebratory documentary, Agnes Varda, the wife of Jacques Demy, brings some of the players and extras together back in Rochefort for some reminiscences. In keeping with the thoroughly romantic nature of the musical, she also tells the story of how Les Demoiselles de Rochefort's extras found romance and had their lives changed by participating in its making.