This is a funny, entertaining comedy that handles its touchy subject with great skill and sensitivity.

Hitchcock's most liberated and poetic film, Marnie is a masterpiece of psychological mystery that encompasses all of the director's obsessions.

This fast-paced entertainment is a surprisingly successful mix of spectacle and human-scale drama.

Henry James's novel of social-climbing, forbidden love, friendship and betrayal, given a lush treatment that neglects neither the elaborate period trappings nor the story's intensely contemporary emotional underpinnings.

The picture's uneasy but perfectly calibrated mix of brutal violence and goofy humor is pure Kitano -- the scenes in which Murakawa and his henchmen play a variation on "Rock'em Sock'em Robots" with paper sumo wrestlers is just too bizarre -- and its convulsively nihilistic ending is unforgettable.

Davaa's second fable of animals and the people who love them mixes aspects of ethnographic filmmaking with heart-grabbing story lines that wouldn't be too far out of place in a 1950s live-action Disney feature.

The engaging characters play out the action against elegantly designed backgrounds. The story is genuinely exciting, a well-told tale that is entertaining to both children and adults without compromising the expectations of either group. The voices are perfectly cast, particulary Price as the evil Ratigan.

What really lessens SADDLES is that its intentions aren't clear. Its humor provoked no thinking; insensitive moviegoers assumed the racial put-downs and cowboy crudeness were deliberate. The public loved the film--it stands as the highest grossing western in history--$45 million plus! But they loved it for all the wrong reasons.

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

Both De Bouw and Decleir are superb.

An accomplished film that carries with it the unshakable feeling that we've seen it all before.

De Felitta's portrait of Paris -- who died in June 2004 -- isn't always flattering, but it is genuinely moving on many levels, none of which require knowledge of or even interest in jazz.

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).

Seven Days in May smacks of realism, from its skillfully realized sets to its wholly believable supporting performances by O'Brien, Balsam, and John Houseman. Sure to keep you on the edge of your seat.

The gross-out factor is surprisingly low, and the combination of Stiller and De Niro is inspired.

This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits.

An illuminating depiction of Islamic women that is entirely at odds with what we are often lead to believe.

Belvaux is no Douglas Sirk, but the film is an admirable, if uneven, conclusion to an audacious project.

Every frame gleams and the camel -- a double-humped wonder whose unusual majesty and quiet mystery drives this wonderful film -- is magnificent to behold.

Salvatores draws strikingly unsentimental performances from his young actors, all making their film debuts, and juxtaposes the petty meanness of children with the calculated cruelty of desperate adults to haunting effect.

Slickly entertaining documentary.

Ratanaruang's simple willingness to tie different strands of melancholy melodramas and violent yakuza thrillers together with flashes of surreal mystery immediately sets him apart from the herd.

Director Laurent Cantet's fourth feature abandons the contentious French workplaces of "Human Resources" and "Time Out" for sunnier climes, but this Haitian idyll is an equally excoriating look at labor and exploitation.

The final confrontation is a slow-motion, De Palma-esque massacre in a hotel lobby that begins and ends in the amount of time it takes for a high-flying can of Red Bull to hit the floor. Breathtaking.

First-time director Lisa Cholodenko, who has made a powerful and modish film with a subtle and knowing script, is more than ably assisted by a spectacular cast.

An effective climax shows a stone eagle coming to life, proving once again that behind every great man, etc.

Powell is nothing less than magnificent as the mustached philosophizing patriarch, and Dunne casts a warm glow beside him. Elizabeth Taylor, Martin Milner, Jimmy Lydon, and Edmund Gwenn all contribute strong supporting performances; Michael Curtiz provides his usual sure-handed direction.

Carole Lombard's final film for Paramount was a charming screwball comedy that was entertaining, if lightweight.