A film with uncomfortable things to say about the nature of heroism--and one to see for that reason.

Generally regarded as the best of Reynolds good ol' boy films, with fine, sensitive performances by the leads and a wonderful supporting cast.

Seeks to set the record straight. But Gere's sneaky, ingratiating presence keeps it dishonest to the last frame.

This wonderfully touching and funny reminiscence of life in a Catholic boys high school in Brooklyn circa 1965 went mostly unnoticed by critics and moviegoers alike. HEAVEN HELP US is a refreshingly honest portrayal of teenagers. No character is stereotyped, and events turn out differently than expected.

This moving story neatly avoids melodrama.

Billed as a dark comedy, brothers Jay and Mark Duplass' shaggy, ultra-low-budget tale of a tense New York-to-Atlanta road trip is more accurately a relationship-hell drama peppered with strangled laughs.

"Charlie's Angels" director Joseph McGinty Nichol (aka McG) shows surprising restraint with this emotionally freighted material, weighting the movie heavily towards relationships.

There's practically nothing wrong with PROJECT X. Broderick is superb as always and proves that he is a commanding screen presence even in the company of a cute chimp. Hunt also turns in a fine performance. Surprisingly, even the film's bad guy (Bill Sadler) has some redeeming qualities, preventing the script from becoming patently simpleminded.

Given a distinctly playful treatment by Russell, who crams some kind of phallic imagery into almost every frame, THE LAIR OF THE WHITE WORM is solid, campy fun--much more entertaining than any of the director's "serious" films. Russell (who also scripted) enjoys himself with all kinds of fetishistic images, from a naked Amanda Donohoe slithering around in green body paint, to a white bra- and panties-clad Catherine Oxenberg suspened over a pit as a sacrificial offering to the great white worm-snake--whose flickering tongue is, no doubt, firmly in his cheek.

Smilovic's rapid-fire, Tarantino-esque dialogue is consistently razor-sharp, and the elaborate set design - which leans heavily towards shiny, riotously patterned wallpaper - is an eyeball-jangling blast.

This handsome, elegant and restrained fable about love, artifice and power in fin de siecle Vienna is lavishly imagined and yet oddly airless.

The flashy spectacle of intersecting narratives and its crosscutting and fractured chronology nearly overwhelms the film's simple message, in this case that despite divisions of language, race and geography, we're all connected.

Paul Schrader's study of a middle-aged drug dealer, is a return to the director's thematic roots, an exploration of the dark side of the American psyche.

In less assured hands, this could have wound up as a disaster, but director Edouard Molinaro was skillfully able to film the long-running play and wring every drop of humor from it.

It works, in the end, because its generous emotions are earned. De Niro mugs a bit, but Penn is surprisingly endearing as a naive young criminal looking for a little peace of mind.

The picture runs on a bit long and it does pale by comparison to the book, but it was a welcome smile in 1947 and has the same effect today.

Mendez directs with remarkable assurance, using B&W footage to suggest the monochromatic clarity Santiago craves, as well as color to depict the riotous reality that threatens to overwhelm him.

The title refers to the giant promotional sign for the Hollywoodland real-estate development that once loomed on the side of Mt. Cahuenga. Shorn of its last four letters 10 years before Reeves' death, it survives as the iconic Hollywood sign.

Yeah, but at the end, he gets into hand-to-hand combat with Saddam, and he kicks the guy's butt! I love that part.

Thompson's stories are familiar, but she weaves them together with such assurance and good humor that they're equally soothing and thoroughly enjoyable.

Spare, elegant and tailor-made for intense discussions over dark coffee, Boe's film is a slily bold and delightfully inventive variation on an age-old theme.

Watch it for the songs. A paean to Oklahoma's "Sooner" pioneers, it's a watchable, if hardly terrific, rendering of an innovative Broadway landmark.

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.

This entertaining spoof of western movie cliches features Garner as a stranger who stops off at a small town en route to Australia, a running joke that works well through the rest of the film.

Bluth, a former Disney animator, understands that the greatest Disney films take us on an emotional journey in which all our hopes and fears are played out in a vivid fantasy world where anything can happen. The Land Before Time continues that great tradition.

Much of the credit for what works in the film should go to the excellent cast. Berenger is superb, and Rogers proves here that she can handle a lead role with class and aplomb. Bracco, however, steals the picture with a refreshing energy and wit.

Strong performances and sharp dialogue distinguish Jeff Lipsky's melancholy second feature, which charts the two-year course of a "perfect" relationship whose flaws are evident from the outset.

It's impossible not to get a nostalgic buzz as the hosts wander around the old sets and soundstages, while the anthology of clips creates a wonderful sense of popular culture during Hollywood's halcyon days.