There's enough information packed into Paul Devlin's documentary about the woes besieging the former Soviet republic of Georgia for two movies.

Beautifully photographed in the wilds of Utah, this film unfortunately doesn't know when to stop; it feels consumed by a self-concious desire to be arty, and offers a treatment too cool for its subject matter. The dialogue, by John Milius and Edward Anhalt, is full of homespun homilies that undercut the attempted seriousness.

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

An enormous number of symbols--sexual, religious, and political--collide randomly in this pretentious, incoherent horror story.

Director-writer Jarmusch's characters are insignificant antiheroes adrift in an America that is both sad and beautiful. Jarmusch has a powerful visual sense, but he is weaker in the realm of content. The jazzy relationship between Lurie and Waits never quite clicks. As a result Down By Law merely reiterates the ideas about people and American life that Jarmusch had already stated more richly in Stranger Than Paradise.

Director John Crowley and screenwriter Mark O'Rowe's follow-up to their feature film debut "Intermission" may follow an all-too schematic flashback structure, but the film is too brilliantly acted for that to really matter much.

This is one of Wayne's finest performances, earning him an Oscar nomination.

The performances are uniformly strong, with Gere offering some of his best work - though it pales in comparison with Gossett's tour de force as the tough, principled Sgt. Foley.

Although a passable war film, Flying Leathernecks must be considered something of a disappointment for fans of Wayne, Ryan, and director Nick Ray.

A woman's picture with a few - precious few - contemporary flourishes.

Warm, funny and often brutally honest profile of an aging divorcee and her three very different daughters.

The sequel-ready twist at the end is a letdown, but until then this is a neatly constructed nail-biter.

If Israel needs a Mike Leigh to capture the angst of its silently suffering working class, it could do far worse than Nir Bergman.

The music continues to speak for itself. Play loud.

Smart, stylish, and cynical about the values of its time, this movie aspires to be The Graduate for its generation and it comes pretty close.

Neat little chiller with Polanski honing his abilities as a director and standout performances from Pleasence, Stander, and Dorleac.

Schroeder's film is a fascinating character study in contradictions and in the end Verges remains loathsome, oddly charismatic and willfully enigmatic.

Mark Orton's overused fiddly score is nice enough, but can't disguise the essential emptiness of overlong scenes.

Price is wonderful as the spooky owner, but the other three players are merely adequate. But still a superlative Corman/AIP effort and a great beginning to a varying but always interesting series of horror films.

The film offers some fine performances, and Ashby's quirky but skillful direction allows the individual personalities of the characters to shine through. The script has a few uneven moments, none of which damage the overall quality of the film, and Willis captures the atmosphere of both rich and poor New York lifestyles with an impressive visual style.

In the Kill the Bitch tradition of FATAL ATTRACTION, this adaptation of Stephen King's misogynist fable about a serious (male) author trapped by his own frivolous (female) commercial creation isn't quite satisfying either as a flat-out horror screamer or a psychological thriller.

A small slice of a suspended life, intimate and filled with the mundane details most people forget when the waiting is over and their real lives begin.

Cheung gives a revelatory performance.

Innovative sounds and striking visuals combine to form an exquisite cinematic work.

The film fires off too many intriguing plot possibilities that remain nothing more than that.

This far more modest production is a much more interesting film (than "Anywhere But Here").

Hallstrom's leisurely adaptation of John Irving's unconventional coming-of-age novel is so well crafted and intelligent that it feels churlish to point out that it's easier to admire than actually like.

This rather obvious parable about soul mates benefits from luminous B&W cinematography, Paradis and Auteuil's luminous performances and the picturesque carny atmosphere.