Aldrich was a master at presenting his distinctly cynical outlook in the context of crowd-pleasing entertainment, and The Dirty Dozen is one of his most effective and lasting efforts.

Although it begins promisingly enough, with a documentary-like look at the options available to young African-American men who grow up in the "ghetto life," this visually polished film stumbles when it comes to actually telling a story.

LOVE IN THE AFTERNOON had many faults and yet, as the song goes, "with all it's faults, we love it still."

Stewart seems uncomfortable playing an intellectual; his dull performance never displays the disturbance or authority that it needs.

This generation's postpunk worldview is rooted in nihilism, detachment, and fear of nuclear annihilation--nothing matters to them except friends, rock 'n' roll, and getting stoned. River's Edge also boasts the best cast of unknowns since Francis Ford Coppola's The Outsiders. Reeves and Skye are superb as the moral centers of the film, Roebuck is great as the killer, and the supporting performances are also impressive. Glover and Hopper go over the top and get away with it.

A genuinely heartbreaking, romantic film based on a true story; frankly, if it doesn't make you cry, we don't want to know you.

Though the ballets themselves are beautifully shot, they lean heavily in the direction of gimmicky and prop-heavy pieces; they're visually interesting but, by and large, they're not great dance.

Foxx is the one standout in an otherwise overcrowded film.

The result is so intoxicating, it hardly matters that you've heard it all before.

While MR. SMITH GOES TO WASHINGTON is the most moral of films, it is so artfully filled with real emotion that it never becomes heavy-handed.

Hayley Mills plays twins in this innocent, fast-paced comedy, a favorite of countless youngsters in the 1960s. An enjoyable, corny Disney picture with a memorable soundtrack featuring tunes sung by Tommy Sands and Annette Funicello.

Mask is a good movie that could have been a great one with a little more restraint.

Although hardly believable, the story is effective, making its rather unwholesome characters sympathetic.

Pulp sci-fi classic.

The story's authenticity was enhanced by the real-life marriage of Grant and Drake and their resulting on-screen rapport.

THE SEA WOLF contains little of the prolixity of Jack London's philosophically oriented novel, yet it is true to the spirit of the book. The megalomania of the ship's master is wonderfully expressed in Edward G. Robinson's fine portrayal of the contemptuous captain.

Leigh is stunning in this second cinematic version of author Sherwood's hit play.

A keen satire, MANDABI is not only Sembene's first comedy and first film in color, but also his first in Wolof, the language spoken by most Senegalese people. Its critique of a postcolonial state is much more narrowly focused than those of his earlier short films, and, as the first Senegalese film to be distributed commercially in Senegal, it more than got its point across.

A rare beauty. Noel Coward, in an atypically serious venture, traces 30 years of a British family's life.

This handsomely mounted documentary takes the same, indulgent tone that at lot of Thompson's friends and associates seem to have had.

This tribute to old-fashioned hard-boiled detective fiction is laced with Hollywood satire and snappy, lightning-fast dialogue.

What fills the screen is not heightened melodrama, but a series of stark, sometimes painfully poignant vignettes that reflect the oppressive stasis of their lives.

Guided by director Silver's gentle but sure hand and benefiting from strong performances by the leads, this is a sweet, funny movie that doesn't exploit the sentimentality of its story.

While WHAT'S UP, DOC? may not be as great as the classic screwball comedies of the 1930s and 40s, director Bogdanovich has delivered a film with energy, wit, and a madcap pace that is well worth watching.

Well-acted, likably small-scale, full of good intentions, but hardly a corker.

Feels soft without being especially affectionate, and only sporadically funny.

First written in the early '80s, Terrence Malick's fourth film in three decades is a trancelike take on the relationship of Native American princess Matoaka - better known by the nickname Pocahontas and English adventurer John Smith.

Unexpectedly poignant documentary.