What you're seeing isn't wire work or CGI -- it's stunt choreography, beautifully executed, flawlessly cut together and brainlessly thrilling.

Phillippe has the unenviable task of trying to make O'Neill equally interesting, but an eager beaver with some unresolved family issues is no match for a poisoned soul methodically laying the groundwork for his own inevitable fall. The unfortunate imbalance makes long stretches of the film feel dull, but when Cooper is on screen it's mesmerizing.

It's a one-note satirical piece, but the pitfalls of indie filmmaking are lovingly portrayed, and DiCillo proves that he can take it as well as dish it out.

It's just a clever, pointed little fable about the price of complacent conformity, slavish worship of the status quo, and trading freedom for the illusion of safety, wrapped in a sugary-sweet, Jordan-almond-colored coating that looks good enough to eat.

Best of all, though the Simpson clan is 18 years older, they're not one bit wiser.

The ideal viewer is a Miike fan...You know who you are.

The final result is a bittersweet product closer to honey than treacle.

Since each is more adorable than the one before - and together they're an irresistible mass of squirming speckles - the whole elaborate edifice holds up pretty well.

A thoroughly enjoyable way to spend 101 minutes.

An intelligent, imaginative children's adventure refreshingly free of rapping cartoon animals, fart jokes and mind-numbing special effects.

It's light, mostly amusing, and better than the second Burns-God film, but not as good as the first.

Although the search for enlightenment may not have much in the way of high-concept appeal, the film should satisfy adventurous moviegoers as well as the large number of adults already intrigued by eastern religions. Children with open minds will also find much pleasure in the characters of the children and the kindly old monk.

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.

Perhaps the movie's value, or lack of it, lies not in the input of the Beales, the Maysles, et al., but in the degree of seriousness audiences bring to the theater. Some viewers will be shocked, some will be touched, but, unfortunately, the spectators this sad story is most likely to attract, amuse, and vindicate are the sort whose obsession with the upper crust, especially its blue-blooded stratum, is fed by envy and spite--each an unhealthy attribute on its own, but poisonous in combination with the other.

Film offers a combination of highly technical jargon and emotional suspense in a well-balanced effort. The technical effects are extremely realistic, making the impact of the film much more powerful.

Perhaps the best Hudson-Day film.

Outsourced is a sweet, good-natured surprise that takes the cliches out of an overworked genre and makes them seem almost fresh and entirely charming.

A must-see for horror fans, with more than one viewing recommended.

The Naked Kiss is Fuller's most developed and unrelentingly bleak view of the dark underbelly of American society.

Dellal and their cast consistently hit the right notes, and the result is an uplifting tale that you don't have to be embarrassed to enjoy.

Writer-director Christopher Hampton's adaptation of Joseph Conrad's widely-read novel is an honorable failure, a screen version that's actually too faithful to its source.

Hill has gotten Schwarzenegger to give one of the best performances of his career, and Belushi too is thoroughly convincing as an action hero. RED HEAT is a welcome break from the shallow shoot-'em-ups that became the standard in the 1980s.

Dreams With Sharp Teeth Or, Why is Harlan Ellison so gosh darned angry?

Other than the unfortunate miscasting of Molina, an otherwise superb actor, and Wallace Shawn's grating performance, everyone else is right on the money. Oldman, fresh from his triumph as Sex Pistol Sid Vicious in Sid and Nancy, is the key and holds it all together.

Three solid and scary tales of terror from the undisputed master of Italian horror, Mario Bava.

Unlike many first-timers (especially during the indulgent late 60s), Pakula uses understatement, avoids cinematic tricks, and carefully guides young stars Minnelli (who was nominated for an Oscar) and Burton, who was making his screen debut after starring on Broadway for three years in the title role of "You're a Good Man, Charlie Brown."

In its small way, however, it succeeds, thanks to director Hugh Wilson's light touch and the chemistry between leads Shirley MacLaine and Nicolas Cage.

If this film is less engaged with social and political realities than most of Godard's other work from this period and seems like nothing more than a playful attempt to re-create an old Hollywood genre, one must remember that even a lesser Godard is likely to be much more stimulating than another director's better films.