Among those who are on hand to offer their own feelings about the man known as Peter Berlin and his art are fellow porn legend Jack Wrangler, groundbreaking gay writer Armistead Maupin, pornographer Wakefield Poole and director John Waters, who remembers Peter from his days in San Francisco, and still doesn't quite get what he's all about.

It will certainly appeal to its target audience, and Bynes is charming enough to carry the whole film on her shoulders, which is a good thing considering that she's in just about every scene and leading man Tatum is a stiff.

This hysterically funny parody of Cold War tensions sees a Russian submarine get stuck in a sandbar off the coast of New England after its commander, Bikel, ventures too close to shore in order to get a good look at America.

Jeremy Gosch's documentary about the origins of professional surfing shines a light on four wave riders – three Australians and a South African – who helped transform a counter-culture life style into a billion-dollar industry.

A sweet, unassuming surprise.

Driver and Renner deliver haunting performances in this story of crime and punishment.

Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast do still haunt one's viewing experience.

Conventional to the core but gets a blast of pure, hard-driving energy from Joaquin Phoenix's and Reese Witherspoon's vividly realized performances.

Ambling but never less than endearing.

Sebastien Pentecouteau's startlingly beautiful cinematography lends the film a dreamlike quality and perfectly suits Kounen's mystical subject matter.

To a post-Vietnam War generation put off by militarism, David Puttnam's inspiring account of the final and most-harrowing WWII mission of the B-17 bomber The Memphis Belle may seem hopelessly dated, but older viewers are likely to find much to enjoy in the film.

Fortunately, no amount of optical wizardry and quick-change trickery can disguise the fundamental power of Harper's performance, a revelatory turn that's truly transformative in every sense of the term.

Raw, uncompromising and surprisingly explicit.

Seltzer's characters are real; and Haim, Green, and Sheen play them wonderfully. As a result LUCAS is not just a film for teenagers but for anyone who has ever been a teenager.

Feature debuts don't come much better than director Robert Harmon and screenwriter Eric Red's sleek, dream-like thriller about a naïve college boy who crosses paths with devil in the flesh after taking a wrong turn on some lost highway.

Conrad's script surprises at nearly every turn.

An engrossing study of imagery and one's perception of the image.

The Wind And The Lion is certainly jingoistic to a fault, and its portrayal of the various factions is little above the cartoon level, but thanks to marvelous performances by Keith and Connery, the film works as a maker of myths.

An exuberant and supremely unselfconscious first film about five Melbourne college students and the various crises that befall them during one momentous day. The movie is in the best sense of the word artless (there's not an hommage insight), and its occasional missteps -- like a ham-fisted parody of partisan film students -- do little to undermine its charms.

Special kudos to Adams, who nails the distinctive body language of Disney's spunky good girls and manages to make Giselle's relentless optimism seem charming rather than a sign of mental deficiency.

Happily, many of the figures spoken about throughout the film are still with us -- Neville is even able to reproduce Patricia Foure's famous group photo with most of its original subjects.

A solid, surprisingly modest spy thriller, enlivened by Sean Connery's screen charisma and occasional hints of the extravagance to come.

Francis Ford Coppola's first mainstream feature (after a few unremarkable skin flicks) is a little gem of gothic horror, stylishly helmed on a shoestring budget.

It's a deeply provocative piece of filmmaking.

Wilby's father and the neighbor's dog get all the credit, but younger viewers will delight at knowing who really performed the heroics.

With 20/20 9/11 hindsight, it's clear that covertly arming the Mujahedeen wasn’t such a good idea after all, but neither Nichols nor Sorkin wants to spoil the fun.

A very good musical that should have been a great musical. Bob Fosse, making his film directorial debut, couldn't convey the verve he injected into the play to the movie version.

INTERVISTA play as an enjoyable, lightweight entertainment, filled with the usual Felliniesque characters, faces, and situations.