The three leads--particularly Pryor, in an essentially non-comedic role--are remarkable.

This is a professional machine of a movie that compresses huge amounts of information into its two and a half hours of screen time. But it's so weighed down by detail, it fails to generate any real suspense.

Delivers plenty of sharply funny moments.

This is a fast-paced movie with a bright and witty script and plenty of scary adventures which Durbin cleverly manages to survive.

Tarzan movies had been around for years when Road To Zanzibar, the second of the "Road" pictures, took the opportunity to satirize every jungle picture lensed up to that time. The script was funny, although much of the humor reportedly derived from on-set improvisations.

It features truly monstrous bogeymen in the Reavers, cannibalistic renegades who, legend has it, went to the edge of the universe and were driven mad by the abyss.

The film's occasional jarring shifts in tone are a liability, but not a fatal one: It's a character-driven piece and the beautifully-crafted characters mask the narrative flaws.

A wonderfully creative, bizarre, delightfully terrifying horror film that never fails to surprise.

A gripping, old-fashioned WWII spy thriller.

An impressive first feature from Melvin Van Peebles has a black American soldier, Baird, stationed in France and visiting Paris on a three-day pass.

An entertaining thriller that stumbles occasionally on overlong dialogue sequences.

The pace of this movie is a bit slow, but Siegel's deliberate, sparse direction works to the benefit of a film where time is all his characters have. Surprisingly, there are few exciting set pieces and relatively little violence, yet Escape is relentlessly tense.

It should come as no surprise that Wes Craven's return to the horror series he created is the strongest of the NIGHTMARE ON ELM STREET sequels, but even his fans might not have expected the ironic depth and self-reflexivity he brings to this chapter.

Indie director Bezucha has held on to just enough individuality to breathe a little life into the cliches.

They're frank, funny, resilient and altogether captivating.

The battle of wits is peppered with funny lines and the suspense seldom flags.

It's a great place to visit, even if you wouldn't want to live there.

The gritty location shooting, the absence of a soundtrack and the casting of non-professionals in key roles help capture an all-important sense of place with almost documentary precision.

The same super-heated visual imagination that made Guillermo del Toro's "Pan's Labyrinth" such a darkly thrilling delight is very much in evidence in his sequel to "Hellboy." It's a shame that it's at the service of such a blandly conventional story.

Luxe MGM historical ransacking, locationed to the nines, beautiful to look upon, but with energy lapses in the soggy script of Sir Walter Scott's epic classic.

Engrossing documentary about the life and times of publisher Barney Rosset, who spent much of his career advancing the cause of free expression, is a flawless match of style and subject.

Potentially the most controversial movie of 1995 and arguably a masterpiece, this edgy, downbeat film falls somewhere between social document and peep-show.

Luis Orjuela's sweet, slight comedy is about a middle-class Colombian family and the huge, cherry-red Chevrolet Bel-Air convertible that conveys them through several years worth of life's little dramas.

This time Stallone both wrote and directed the film, and though his handling of the actors and camera is less assured than John Avildsen's in Rocky, he keeps things moving at a good pace and delivers another charming performance himself.

This being a Michael Moore film, the filmmaker is as enraging as the subject: His belligerent court-jester shtick wears thin fast and undermines the segments on universal health-care systems in Canada, the U.K., France and Cuba.

Moon is a small-scale film, but, thanks in no small part to Rockwell, its mix of thematic grandeur and human drama makes it a worthy successor to those 1970s science fiction films that inspired it.

The success of this picture (perhaps Moore's best in the Bond series) can be attributed to the marvelous direction of Glen, who had previously worked as a second-unit director on earlier Bond movies. Not surprisingly, the stunts are some of the best in the series.

Though at times the film relies a bit too much on slapstick humor, skilled director Robert Stevenson (working on his 19th Disney film) keeps the action from getting too out of hand