A well-done remake of They Live By Night that's slightly long but unusually free of Altman's customary indulgences.

This wild and unexpected ride should delight younger children with its bright colors and constant chaos, while adults are likely to be charmed by the witty banter, subtle one-liners and a sweet father-son relationship that highlights the need for good communication.

This sequel to 1994's surprise blockbuster is shamelessly stupid, willfully juvenile and generally just plain gross -- which is, after all, the point.

This good-natured genre piece gets the job done while sneaking in a couple of pointed observations about contemporary Latino immigrant life.

Director John Crowley and screenwriter Mark O'Rowe's follow-up to their feature film debut "Intermission" may follow an all-too schematic flashback structure, but the film is too brilliantly acted for that to really matter much.

This simplified Romeo and Juliet tale was written and performed with such heart and care that it is impossible to dislike. The cast is wonderful, headed by the engaging couple of Cage and Foreman and wittily directed by Coolidge.

It's a solid depiction of a relatable story, and it's absolutely modest about all of it, especially stylistically, where things stay remarkably reeled in.

Some movies strive to give you that warm, fuzzy feeling, and some strive to make you bawl your eyes out, but Observe and Report strives to make you feel ambivalent, confused, and a little bit dirty, and whether or not you find that enjoyable, it's not something you likely feel very often.

The film's story line is a clever and perceptive story, superbly told.

This is a crude, shapeless talkie, a technically unsophisticated film in which the sound is static and the camera immobile, with the comedians leaping into the set scenes. Yet the boys are there in all their frenetic glory.

It's a handsome production, and a pleasure to watch. With a shadowy palette and a set design reminiscent of Edward Hopper's nocturnes, a soundtrack hearkening back to the sounds of vintage rock 'n' roll, and a cast of characters straight out of a James M. Cain novel.

Director John Dahl keeps a firm hand on Christopher Markus and Stephen McFeely's razor-sharp hit-man-in-rehab comedy, which mines the same dark vein as "Gross Pointe Blank"(1997) and "Matador"(2005), and the payoff is both slily funny and startlingly fresh.

The screenplay, which differs significantly from the novel, is uneven, but the distorted mirror it holds up to the present is disturbingly clear.

Mad Dog and Glory is an edgy romantic drama that never quite jells, but has enough moments of humor and/or charm to make it worth seeing.

To see the two of them on screen together, even past their primes, is a delight.

Even in this early effort the whimsical, odd world of Fellini comes dancing forth.

Overall, it's an enjoyable film, thankfully free of the computerized look of later Disney cartoons, but it really can't compare to the real Disney classics (which appealed equally to both kids and adults).

This very effective thriller features a chilling performance by Hauer as the emotionless killing machine. Stallone and Williams are also credible, and the film makes good use of its New York locations.

Frothy, sentimental and thoroughly good-natured, Malcolm D. Lee's tale of coming-of-age at the roller disco doesn't have an original bone in its body, but it's as energetic, eager to please and endearing as a sloppy, wriggling puppy.

Cliffhanger offers us breathtaking mountain scenery, some occasionally gripping action sequences, and a lot of gags--mostly unintentional and mostly courtesy of Sylvester Stallone.

This jovially sinister, middle-class morality tale-cum-horror show is predictable, implausible and fiendishly entertaining.

An undeniably effective adaptation of the Shirley Jackson novel and one of the best haunted-house movies.

While not entirely successful, Mortal Thoughts is surprisingly compelling. Headly and Moore go all-out with their working-girl mannerisms, but their friendship rings true and their ill-considered decisions are made strangely believable by their desperation.

Linear storytelling was never Herzog's strong suit even under the best of conditions. His strength lies in capturing lucid lunacy on film, and Manoel da Silva's descent into the jaws of madness is a straight shot into the heart of darkness, a place familiar to both Herzog and Kinski.

The spirit of the book is captured here as the rabbits, faced with problems of ecology, are forced to find a new home. Their trek is filled with surprises and adventures, as well as bloodshed. The job of personifying the rabbits is nicely achieved due to expert readings by the cast.

The film's climax, which cuts back and forth between the 16-year-old Dongo (Silas Radies, whose younger brother plays Dongo as a ten year old) making his dangerous debut with the fly-by-night Aurora Circus and the 2002 competition that takes him back to Hungary for the first time in years is nothing short of riveting.

Little more than a shaggy-dog tale about two hit men killing time in the picturesque, medieval Belgian city of the title, goosed with crackling dialogue and generous dollops of gore.

Though its emotions are big, the performances are so nicely nuanced that sentiment never overwhelms the story's emotional realism.