It has heart and warmth in the American Graffiti vein, with everything carried out top-notch in a sociological study of black youths.

One of the most cynical and bitterly funny westerns ever made.

A terrific debut film for both Van Heflin and for Fred Zinnemann in the director's chair.

This might be the only documentary that will appeal to punks and Mormons alike.

The plot is minimal, and no attempt is made to explain the psychology of the sociopath who murders casually and yet yearns for the security of middle-class life. But the movie's details are fascinating and often surprising.

Neo-Gothic fantasist Tim Burton and writer John August (Big Fish) play it strictly by the book for this darker but far more faithful adaptation of Roald Dahl's cautionary 1964 young-adult novel.

It's Alive is a justifiably praised low-budget effort that delves into the dark side of American family life from a horror-movie perspective.

Sayles' script is an intelligent look at a woman's struggle in 1930s society, and it conveys the proper mood for the character and the times. Teague's direction manages to capture the era on a shoestring budget, and the performances he gets from his cast are solid.

One of the most perceptive movies about the gentrification of Los Angeles.

Resembles an Impressionist masterpiece come to life, and ends with a tremendously moving acceptance of art and mortality.

It does get K-Mart to pull handgun and assault ammunition from their shelves after two Columbine survivors show up at corporate headquarters with Moore's camera crew in tow and bullets bought for 13 cents apiece at a K-Mart store still embedded in their bodies.

The case is a convincing one, and should give anyone with a conscience reason to pause.

An unexpectedly warm valentine to the solitary joy of reading in an increasingly post-literate age. It's also a gripping mystery yarn involving obsession, a long-forgotten book and a shadowy author who appears to have vanished off the face of the Earth.

In an outstanding ensemble, Spall is particularly good.

Not much happens on the surface of Hou Hsiao Hsien's latest film...Nevertheless, it can break your heart.

Webber's assured directing is evident throughout; in addition to eliciting strong performances from his cast, he always knows when to linger on an image and when to move on.

Director and co-screenwriter Oliver Stone pulls off an amazing filmmaking feat with JFK, transforming the dry minutiae of every John F. Kennedy assassination conspiracy theory of the past three decades into riveting screen material.

A charming, if often-seen, tale, paced with alacrity by Wilder from the adaptation of Taylor's hit play. [Review of re-release]

Other than the unfortunate miscasting of Molina, an otherwise superb actor, and Wallace Shawn's grating performance, everyone else is right on the money. Oldman, fresh from his triumph as Sex Pistol Sid Vicious in Sid and Nancy, is the key and holds it all together.

Even without the music, this well-written story would be a splendid entertainment. But it's the music, that wonderful score written by Rodgers and Hammerstein, that makes this movie as beloved as it is.

Though SMITHEREENS is not without its problems--much of the material seems to be cliched--it is a good display of what a persistent creative drive can achieve.

Following surgery Wayne wanted to prove he was still physically fit, and his role here certainly goes to great lengths to show it. Wayne rides, shoots, and fights as though the worst that had happened to him was a touch of the flu.

A raw, penetrating, and terrifying portrait of humanity.

Exotica sounds terrifically lurid and interesting, but like most Egoyan films, it's far more interesting in the telling than in the watching.

It's enjoyable poppycock.

Director Zinnemann never allows his primarily stage-trained actors to indulge in theatrical over-emoting. This absorbing film features inventive camerawork and superior production values.

Never an easy one to impress, Reed is clearly in awe of Antony's ethereal voice, and it must now stand as the definitive version of a 40 year old song.

All That Jazz is great-looking but not easy to watch; Fosse's indulgent vision at times approaches sour self-loathing, and nothing like the explicit open-heart surgery had been seen on mainstream American screens, let alone the morbid song-and-dance routines in an operating theater.