Director Curtis Hanson keeps the hugely complicated story zooming along the boulevard of broken dreams without losing sight of the details that make the trip worthwhile.

Top Hat may be more energetic and glossy, but Swing Time is arguably the most magical of the ten films Fred Astaire and Ginger Rogers made together. Their dancing and acting rapport are at a peak and director George Stevens shows more finesse than Mark Sandrich in lending the couple's rocky romance a genuinely heartfelt quality.

It can be funny, but the humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food), and Coppola shamelessly invites us to laugh along with Murray's character, who, believe it or not, thinks it's hilarious when his hosts get their "r"s and "l"s switched.

Breaking Away is a very funny and touching story about love, growing up, bicycle racing, and class consciousness.

A superb romance, the film deftly mixes humor with pathos and passion, and takes us on an emotional voyage that never fails to please.

Nothing can detract from the power of the most influential monster movie ever made.

The film is immensely entertaining and occasionally inspiring, a delirious combination of Slavic solemnity, Latin exoticism, Communist idealism and breathtakingly beautiful images.

A film that has everything--adventure, humor, spectacular photography and superb performances.

The manic energy of the lively and outrageous opening sequence sets a tone and pace the film can't maintain.

A zany, hysterically funny, and sometimes brilliant if sometimes sophomoric send-up of every medieval movie ever made.

A delightful and memorable film.

Perhaps the greatest antiwar film ever made, holding considerable power even now due to Lewis Milestone's inventive direction.

Repulsion has often been compared to "Psycho," but Polanski's film, rather than presenting a portrait of a psychotic killer from outside, pulls the audience into the crazed individual's mind. (Review of Original Release)

A superb motion picture, and one in which Ford's obsession with Americana and the forces and emotions that made this country what it is are plainly in view.

The last of the comedies produced by the Ealing Studios, and one of the finest, with a supremely dark tone which makes a climactic series of murders as hilarious as they are grotesque.

A draining experience from beginning to end, relentless in its portrayal of inhumanity.

Denis dispenses with most of Melville's hefty Christian symbolism in favor of the story's other great theme -- repressed homoerotic desire.

No great director confined both his subject matter and technique like Yasujiro Ozu, and this, his final film, sums up so much of what makes that tunnel vision so eloquent.

There's nary a drop of blood on screen in this rollicking funhouse of a movie but there is enough sheer cinematic ingenuity on display to coax screams out of the most jaded gorehound.

Piercing, sweetly melancholy and acted with a breathtaking eye for nuance.

This mordantly funny, emotionally piquant depiction of post-adolescent angst also has its roots in the graphic novel format.

Director-writer Philip Kaufman's script brings a wealth of humor to a faithful retelling of the astronauts' fascinating stories, the actors fit smoothly into their roles and even physically resemble their characters, and the direction is well-paced and visually exciting.

This honest, non-sugar-coated approach to the hard truths of life, however, is what gives Bambi its lasting emotional power, and makes it stand apart, not only from Disney's cartoons, but from virtually all others as well.

A delightful piece of utter absurdity and one of director Hawks' most inspired lampoons of the battle between the sexes. Hepburn and Grant are superb in this breathlessly funny screwball comedy with a plot that could have been hatched in a mental institution.

This sweet film is a genuine treat, even if there's little plot, no antic mayhem and its 90-minute running time is mostly consumed by nonstop, sometimes pretentious dialogue.

Directed with restraint and impeccable taste by Cukor, produced by Selznick, David Copperfield is diverse and satisfying intellectually and emotionally, capturing the unparalleled beauty of Dickens's melancholic truths about life's hardships and human survival.

The movie's greatest strength lies in phenomenal performances that reach from the leads right down to the smallest supporting roles.

Predictable but magnificent and satisfying.