Wickedly funny and surprisingly sweet film may be the perfect star vehicle for Grant. He's full of piss and vinegar and has at long last set aside the wobbly, stammering persona best left at "Four Weddings and a Funeral."

Flawed but undeniably provocative and brilliantly acted by Gosling.

Though Hearst is the hook, Stone's unwavering focus is on the heady mix of social and personal dynamics that spawned the SLA.

Fascinating on a number of levels, and deeply disturbing through and through.

The drawn-out effect is deliberate -- director Babak Payami wants his audience to concentrate on the characters' inner development and their isolation -- but his strategy slows the film down to a crawl.

Ultimately, Dick subordinates scholarship to passion, which may be exactly what it takes to convince mainstream moviegoers that they should care about a system that shortchanges THEM when they go to the movies.

It's visually intoxicating, with its lavish ruffs and furbelows, stately homes and manicured gardens, jewels and silks and elaborately curled hair, but there's less to ORLANDO than meets the eye.

This is Wilder at his most acerbic and cynical, and the film was originally attacked by critics who considered it a monument to tastelessness. But the hypnotic performance he draws from sultry Dietrich shows his continuing mastery of the medium.

Unforgettably, Bastard out of Carolina makes a bold statement about a little girl's grace under inordinate pressure.

In the end, Bill emerges as someone truly unique and someone who we feel privileged to know.

There's lots to recommend this shoestring picture, not the least of which is Baron's acting ability.

At its best, the film is moving and thought-provoking, but at other moments it is unintentionally silly. It is not the story but the telling of it that is the problem; at 140 minutes, Maurice simply goes on too long.

Petersen is superb as the obsessive investigator who risks madness each time he takes on a case, and Tom Noonan is absolutely chilling as the psycho killer.

While this is a wonderful showcase for some fine acting--notably by Fonda--it is not great filmmaking, and one may be left wishing for the biting, off-the-wall satire of Dr. Strangelove.

Luxe MGM historical ransacking, locationed to the nines, beautiful to look upon, but with energy lapses in the soggy script of Sir Walter Scott's epic classic.

Although the film was cut by more than 30 minutes by United Artists, what is left of this satirical, intimate look at the revered character is intriguing and wholly entertaining.

Allen has done better than this, but The Purple Rose of Cairo is a sweet little film and an interesting diversion for his legion of followers.

If one can ignore the blatantly fictitious nature of this Hollywood "biography" of the still-controversial George Armstrong Custer, THEY DIED WITH THEIR BOOTS ON is a wholly entertaining movie, fueled by Raoul Walsh's direction and Errol Flynn's energetic performance.

As in the best Hitchcock movies, suspense, rather than actual mayhem, drives the film.

Ribisi is painfully intense without being histrionic.

The acting is superb.

A grim neo-noir thriller.

Shattering documentary.

The Longest Day is visually stunning--its extraordinary camera movement and Cinemascope photography brilliantly augmenting the meticulously reenacted battle scenes. The only thing bigger than the film's scope are its stars.

Shelly was murdered before she could continue developing as a writer and director, and while this, her last film, is extremely uneven and undermined by an excess of quirk, Keri Russell's performance as a pregnant pie-guru is a charmer with a bracing streak convincingly desperate determination.

Strong stuff, intensely watchable, but definitely not for children.

It could have been a drab, weepy story, but Stern and Newman collaborated to make it an inspiring one that proves one is never too old to change one's life.

Wildly unconventional, corrosively satirical, savagely violent and vulgar, Natural Born Killers is more self-consciously radical (in form, if not necessarily in content) than any other major studio release in recent memory.