28 Weeks Later is flawed -- the constant reappearance of one key character verges on the absurd -- but it knows where it's going, and it gets there in a chilling blaze of fire, blood and poisonous fog.

Gypsy music is the music of pain, poverty and oppression, all of which she's experienced; it's their blues.

Steeped in what may be the ultimate postmodern irony: Talen's impromptu, defiant piece of performance art with political undertones has actually taken on a spiritual dimension.

Pro football fans may be disillusioned by this excellent, honest, and often brutal expose of the play-for-pay game.

It's a thoughtful and ultimately chilling take on a tragedy that still has the power to disturb and divide.

If they gave an Oscar for the year's most claustrophobic film, Presumed Innocent could have won it in a walk. Everything about this film is as cramped, clenched, and constricted as Harrison Ford's face, which looks like a tightly balled-up fist here.

First-time feature director-writer Kevin S. Tenney imbues his picture with a surprisingly slick sense of style and employs some clever camerawork when the narrative warrants it, refusing to bore the viewer with the endless evil-point-of-view shots favored by so many other horror directors.

Delivers equal parts overwrought tedium and mind-bending beauty, spiked with brilliant throwaway images that more than make up for Kelly's heavy-handed hot-button pretensions.

The overall effect is either exhilarating or exhausting, depending on your emotional investment in the franchise, but credit where credit is due: Steven Spielberg and George Lucas set out to make one for the fans and delivered.

For all her own frustrations, Davenport is honest enough not to gloss over the fact that what Muthana's adventures in the screen trade taught him was to hustle, toady and ingratiate himself to useful people. And she helped.

Perceptive, kinetic and entirely believable.

Fueled by a brilliant performance from Bogosian, TALK RADIO is an intense experience that will leave most audiences feeling drained.

A major-league splatterfest, RE-ANIMATOR has a number of horrifying moments, made even more macabre by the grisly humor evident in almost every unforgettable scene (the most memorable and bizarre being the sex scene with a cadaver's detached head).

Anyone with even a modicum of history awareness knows that Churchill was never kidnaped--which destroys much of the film's suspense. Director Sturges, however, is an excellent craftsman and, with the help of a very good cast, manages to make the proceedings entertaining.

Their attachment to the dog will serve as a test for their strength and love in this powerful and moving film.

It's vivid evidence that great music and stories transcend time and place.

The movie opens with the dismal statistic that most teachers quit after three years. Akel and Mass see the humor in the situation, but the laughs are small and sad.

Say what you will about feel-good films anchored by feisty old broads, the English have a knack with them and Stephen Frears' fact-based tale of a formidable, aristocratic widow who makes it her mission to put naked girls on the London stage is delightful.

This is a zanily inventive piece of work, with delightful special effects, which set the style for a long series of live-action Disney films.

Zhang's film is sweet and sentimental nearly to a fault; luckily, he's such a master, you'll hardly notice how shamelessly you're being manipulated.

While at times overly familiar, the film never feels self-mocking.

There's not a single bad performance here, and director Marshall wisely builds his film on small moments, realized with sympathy and intelligence.

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

Though the plot is that of a simple revenge western, director George Miller infuses the film with a kinetic combination of visual style, amazing stunt work, creative costume design, and eccentric, detailed characterizations that practically jump out of the screen and grab the viewer by the throat.

All in all, a fine example of what a sense of humor can do with a low budget and an old idea.

A truly compelling psychological suspense story from Otto Preminger.

The film cannot compare with John Ford's masterpiece about coal miners, How Green Was My Valley. However, it does offer some memorable moments of quality and passion.

You just know that any film that opens with Nietzsche's aphorism about hope being an evil that only prolongs the torments of man isn't going to a comedy.