An exciting mix of science fiction, cop thriller, and buddy film, The Hidden is one of the most exciting and unique genre hybrids.

What's best about Block's documentary is how well he captures his own shifting perceptions.

Aided by a superb script from playwright John Guare, director Louis Malle pulls off a minor coup here, celebrating his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are.

Silent Running concentrates heavily on special effects, resulting in some stunning imagery. Dern gives an engaging, against-type performance, though the script is stretched out very thin to support a feature-length film.

Underrated science-fiction thriller about a superintelligent thinking machine, Proteus IV, designed by obsessive computer wizard Alex Harris (Fritz Weaver).

Well acted and hugely entertaining, the film strikes a near-flawless balance between sly pop-culture allusions and the details of how business gets done under pressure.

Competently directed by Pakula and featuring gorgeous cinematography by Almendros, Sophie's Choice is an overlong, fairly schlocky film that takes itself very seriously.

MANNEQUIN TWO is breathlessly funny and blessedly unassuming comedic nonsense.

Dryly funny, deceptively simple road movie that quietly reveals the state of contemporary Romanian life.

It does consistently remain both totally nuts and totally hilarious.

A fierce and often compelling actor, Nick Nolte usually creates a riveting character, and when that character is coupled with a good film, the end product is something worthy of watching. Such is the case with EXTREME PREJUDICE, despite its abundance of violence.

Alan Parker's big-budget adaptation of Andrew Lloyd Webber's surpassingly shrewd stage spectacular isn't a big fat failure. But it isn't a resounding success, either: It's an awkward hybrid, neither lavish eye candy nor credible drama.

Classy film noir, as you would expect from a team including director Barbet Schroeder (Reversal of Fortune); writer Richard Price (Clockers); and Nicolas Cage, as a loopy, iron-pumping mobster.

The movie is certainly above average, thanks to the performances by Stewart and Wayne, but Marvin is so flamboyant a badman that he is simply a caricature, even more so than in his outlandish Oscar-winning turn in Cat Ballou.

MONA LISA is a detailed, thoughtful film that sensitively explores the emotions within its seedy, exploitative milieu.

Jim Brown and Gary Burns hang a powerful antisuburban diatribe in the form of statistics, expert opinions and pictures worth a thousand words on the experiences of the Moss family.

A brazen, irreverent, and wild satire that hits more often than it misses, THE MAGIC CHRISTIAN seeks to prove that people will do anything, absolutely anything, for money--if there's enough of it.

Both a biographical portrait and an exploration of the tradition of Jewish liturgical music in America.

If the film ultimately amounts to little more than a middle-aged coming-of-age story, it's richly imagined and filled fanciful touches in keeping with its passionate subject.

A huge hit in France, Michel Hazanavicius' straight-faced spy spoof unleashes a French operative of incomparable incompetence on the volatile Middle East of 1955.

At least as much science fiction as horror, Horror Express has become a favorite in both genres and deservedly so. It's fast-paced, inventive, and wholly entertaining.

The film's chief attribute, however, is also one of its major flaws. In presenting an up-close, personal look at the lives of its famous figures--particularly Reed and Bryant in their love affair and marriage--the film sometimes gives short shrift to the world-shaking events that are its unique subject. Nonetheless, the brilliantly designed and photographed REDS is a beautiful, passionate film, both in its stunningly recreated action scenes and its quietest moments.

Spencer Tracy could hold his own acting opposite anyone, and in this excellent sequel to FATHER OF THE BRIDE (1950), he proves that not even a baby can upstage him.

fFrst-time feature filmmaker Cam Archer turns what might have been an exercise in salaciousness into a stylish visual poem about desire and adolescent alienation.

The best thing about Fracture is the way in which it defies genre cliches and turns all Hopkins' mannerisms into assets.

A flawed but nevertheless endearing father-son road trip with a distinctive twist.

If the very idea of another movie about a bunch of overprivileged thirtysomethings and their relationships has you reaching for your revolver, Nicole Holofcener's winning debut feature will come as a pleasant surprise.

The acting here is first-rate, with Madsen turning in a forceful performance as the confused but resilient heroine. And special mention must be made of Philip Glass's superlative score, which combines synthesizers, piano, and chorus to haunting effect.