There's nothing more to it than meets the eye, but Bertino understands the mechanics of suspense and knows how to use them.

Sayles' script is an intelligent look at a woman's struggle in 1930s society, and it conveys the proper mood for the character and the times. Teague's direction manages to capture the era on a shoestring budget, and the performances he gets from his cast are solid.

For all the flash and flutter, the movie overall lacks, well, HEFT.

The movie's is really good, clean fun that's fine for slightly older kids and a lot of fun for adults.

The film is compelling, albeit pretty silly in its elaborate "what if?" plot.

Writer-director Curtis Hanson is to be credited for procuring a clever story and offering nail-biting action sequences that build solid suspense. Guttenberg's boyish appearance initially seems wrong for his increasingly forceful role here, but it is exactly that quality that proves to make his unjudicious actions believable. The marvelous French actress Huppert is a standout as the cool, European beauty.

Expertly executed action flick that starts out fast and winds up faster. We've seen it all before, but the execution here supersedes the concept.

Boasting some of the best use of rugged landscape since the westerns of Anthony Mann, First Blood is an effective, if outlandish, picture that exists merely for its big-screen thrills.

Lucas rarely breaks his glower to express anything other than tough determination. It's an attitude that's clearly modeled on that of storied Nicks' coach Pat Riley, who, it so happens, played for Kentucky that now legendary final game.

Though the script is a bit dense and the film slightly overlong, it's exciting and engrossing on all levels.

In its understanding of Monk and its intelligent handling of the Blackwood footage, STRAIGHT NO CHASER really does succeed in presenting Monk in a straight, potent, and undiluted fashion.

This minor classic from the 60s time capsule is a self-conscious essay on the meaning of the media and the nature of political commitment.

A gripping action film that also illustrates the bitter disillusionment of Americans who witnessed the corruption, confusion, and moral chaos of the country's leadership during the Vietnam era.

Fans of the first two films in the series may be a bit dismayed by Day of the Dead's deemphasis of gory action in favor of characterization, but the need to exploit the horror of the situation has passed and the film works by concentrating instead on its implications and possible solution. The standard 1950s sci-fi/horror film conflict between science and the military is also resurrected here, with distinct political overtones.

Borrowing intelligently from This Is Spinal Tap, writer-director-actor Rusty Cundieff has crafted a mock music documentary that is as irreverent, hilarious, and tough-minded as its model.

Carefully constructing Power's rise and fall, director Goulding is merciless in his inspection of a character who is rotten through and through

A deep and astonishingly authentic streak of melancholy runs through this fifth sequel to the 1976 sleeper that made both struggling actor Sylvester Stallone and hard-luck slugger Rocky Balboa international stars.

Chernick may not answer every question about this beguiling and enigmatic film, but you wouldn't want it to: Mystery is an essential part of the Barney experience.

Though occasionally jarring, the intercutting between the parallel stories, aided immeasurably by Streep's disparate characterizations, succeeds in conveying the complexity of Fowles' novel.

The plot isn't much (some described it as an unsuccessful combination of Midnight Run and Betrayed), but Pink Cadillac is rich in character, containing some of the most heartfelt and engaging moments in an Eastwood film since his unjustly neglected Bronco Billy.

A beautifully filmed, nicely philosophic and rather old-fashioned western with an elegiac tone, well directed by Australian director Fred Schepisi (Breaker Morant), Barbarosa features uniformly strong acting, with Busey and Nelson making a good team.

This winning mix of exciting action, heart-tugging sentiment, and gentle character comedy makes Bolt yet another solid addition to Disney's history of family-friendly fare.

Boorman's original script is razor sharp and very funny, and Gleeson's portrayal is nothing short of brilliant

Hopkins plays "Hopkins," and the buff, terribly miscast Gyllenhaal will be convincing only to viewers who've never set foot on a university campus. What makes it worth seeing, however, is the extraordinary chemistry between the atypically raw and unguarded Paltrow and Davis, a fabulously talented actress once again testing her range with a performance unlike any she's given in the past.

Far from a perfect movie, or even Lee's best, but it shows that he may have developed into an original and talented filmmaker.

Alda's debut as a director is nevertheless impressive, even if he clearly doesn't know what to do with the camera.

Nick Nolte gives one of his finest performances in this somewhat mannered but absorbing adaptation of John Steinbeck's novels Cannery Row and Sweet Thursday.

Although this first chapter in a three-part tale is inevitably overburdened with back story, it ends on one hell of a cliff-hanger.