You'd have to be a grump not to like this funny, sentimental blend of pathos, drama and zaniness.

An exciting picture with much derring-do and adventure, Where Eagles Dare is also a lengthy film, though there is more than enough action to keep it moving along.

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.

Labelled by many critics as a "thinking person's Ghost," Truly, Madly, Deeply is sensitively written and charmingly acted. Juliet Stevenson brings tremendous depth to a role that was created specifically for her, and Alan Rickman proves himself capable of something quite different from the bad-guy roles for which he's best known.

It remains notable primarily as a record of pre-Hollywood Arnold Schwarzenegger.

In many ways, this is one of the best biblical films ever done. Mostly because it doesn't preach, just entertains, and in doing that, puts its lessons across with a minimum of effort.

This spoof of the great fictional-film detectives offers consistently funny scenes sparked by Falk, Niven, Sellers, and Guinness.

Though shamelessly manipulative, it is undeniably effective. It offers some genuine moments of warmth, humor and excitement. Of course it all leads up to a big tournament where Fair Play has a showdown with Dirty Tricks. Guess who wins. This is the kind of movie where you find yourself cheering even though you know you're being hoodwinked.

An unusual piece of work that combines almost thriller-style suspense with an intelligent, neo-documentary approach to its harrowing subject.

The mockumentary conceit gives a vivid immediacy to the material, and the PAL digital video cinematography is often surprisingly lyrical -- certain shots of empty, fog-shrouded San Francisco sites more than make up in eeriness what they lack in special-effects decrepitude.

The defendants – especially Hoffman and Rubin – baited elderly Judge Julius J. Hoffman, who never failed to take the bait; Seale was so obstreperous that Hoffman had him gagged and bound to a chair, another indelible image.

Weerasethakul mixes fact, fiction and filmmaking into a blend that's intriguingly obtuse, yet surprisingly revelatory.

The morbid theme notwithstanding, this is by no means a downbeat film, and it ends with the rather hopeful thought that for every disaster there's also a chance for survival.

Bendinger pulls out all the stops visually, using bold set design, frantic editing, extreme angles and computer image multiplying that turns what begins as a Busby Berkeley exercise in synchronized movement into a kaleidoscopic infinity of handsprings and back flips.

Fueled by an intense and intricate performance by O'Quinn, the movie is a fascinating examination of America's predilection for appearances over substance.

A funny, savvy, camp yet family-friendly look at the Generation-X TV icons.

A fascist film, or a film about a fascist cop? Either way, this is suspenseful, energetic stuff, directed with urgency and style by Cahiers du Cinema favorite Don Siegel.

Though it's not as satisfying as it might have been, it still boasts great stars and catchy songs in addition to a love story, and is a perennial holiday favorite.

F. Scott Fitzgerald's tragic love story was brought to the screen with surprising vitality under Brooks' expert hand. He drew fine performances from Taylor, Johnson, and others in a sumptuous MGM production that captured the flavor of expatriate life in the City of Light.

Director Ronald Neame's well-paced film captures the period beautifully, and the acting is superb, with Finney and Alec Guinness, as Marley's ghost, real standouts.

A deeply moving film.

If there's a gay cliche who doesn't flounce through this feel-good German comedy, he must have been out of town when the casting call went out, but its fundamental good nature is tough to resist.

Sweet, goofy story.

Parents should be warned that the novel ventures into some emotionally dark territory that could be upsetting to very young or sensitive children, and might want to consider reading and discussing the book together before seeing the film.

Woods is particularly good as the deprogrammer, conveying an air of moral tackiness that suggests the "cure" may be worse than the perceived disorder.

An intense, if slightly overlong, drama. The film is well assembled, and the performances are all quite good, especially Connery and Hendry.

Like "Secret Things," the film is ultimately infuriating, subtle, self-indulgent, astute and disingenuous, which makes for great -- if divisive -- conversation.

Thanks to the ingenious voiceover, however, Look Who's Talking is a genial, entertaining film.