Style oozing from virtually every frame.

It's mostly very crude, often very funny and a little bit smarter than you might otherwise think.

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

There's nothing subtle about Pelegri and Harari's culture-clash romp, but it's sometimes frantically funny; that it's thoroughly forgettable is an issue only if you expect it to do more than poke easy fun at the thorny issues it raises.

In terms of bringing the book to life, Twilight is a complete success, so much so that most of the film's flaws work within the context of the story.

This is a doggedly eccentric film which some will reject out of hand. Others will find it profoundly moving and life affirming.

A better rock'n'roll parody than The Rocky Horror Picture Show, and one of director Brian De Palma's more original efforts, Phantom of the Paradise combines elements of The Phantom of the Opera and the Faust legend into a fairly entertaining, but only sporadically successful, horror-musical comedy.

One of the most genuinely haunting ghost stories in recent years, The Changeling is much eerier and more effective than the overrated and bombastic Poltergeist.

Edwards' direction is effective, although he relies too heavily on overhead and boom shots to show his action scenes.

The voices are all well suited to the characters, and the film is a delight for children as well as adults who appreciate good animation and brisk storytelling.

The person who can resist a formerly homeless senior citizen gradually restored to sufficient stability to the degree that he can take in his own "castaway cat" is hard-hearted indeed.

The film is a pleasant breeze that refreshes, mostly because it's a rare, thoughtful comedy clearly intended for grown-ups.

This is a funny, entertaining comedy that handles its touchy subject with great skill and sensitivity.

Starman is a wonderful film that combines science fiction, road movies, and romance into an engaging, very entertaining whole.

It aspires to greater moral ambiguity than the average crime thriller, and if it doesn't entirely succeed it nevertheless avoids the lazy moral bankruptcy of movies like "Lethal Weapon 4."

The Birdman of Alcatraz has great production values, moving if sometimes plodding, overly deliberate scripting, and efficient direction from black-and-white specialist Frankenheimer which strives mightily to overcome the essentially static nature of the storyline.

One of Scorsese's most commercial undertakings, THE COLOR OF MONEY relinquishes none of his unique style and vision, using a swooping, gliding camera and countless trick shots to maximum impact.

A generally gripping actioner, the film can also be read as a percipient satire of a society irreparably split along lines of class and race.

A very well made caper film full of action and rich with character.

A thriller featuring a mysterious femme fatale, an involving plot, and some nice offbeat twists, Sea of Love owes a good deal to Hitchcock, and to such recent efforts as Fatal Attraction and Jagged Edge, though it can claim plenty of originality as well.

One of the better films concerning the tensions in Northern Ireland, THE OUTSIDER stars Craig Wasson as a young Irish-American inspired by his grandfather's patriotic tales of fighting the British years ago.

Though the film does not stand up to the 1946 version with Burt Lancaster, it has its own pleasures, including Marvin's rather likable role of an assassin, the exciting robbery sequence, and, of course, the villainous Reagan getting his just desserts.

A great and eternally heart-warming film that can stand an appreciative viewing every year through every decade.

And if the film's 11th-hour CGI effects aren't entirely convincing, the notion that oil itself is haunted by the restless spirit of every once-living thing that time reduced and mingled into the earth's black blood throws off a primordial chill.

Powerful and disturbing on both a physical and mental level, The Brood is the first Cronenberg film to use name actors, and marked a significant progression in the director's exploration of biological horror.

Good Morning, Vietnam stumbles whenever Williams isn't behind the mike, placing him in melodramatic, hackneyed situations that become increasingly predictable and preposterous, and director Barry Levinson's seemingly endless reaction shots of listeners grooving to the DJ's antics become irritating. Levinson manages, however, to be one of the few filmmakers to show the Vietnamese as complex, cultured people, rather than as helpless victims or the faceless enemy.

Quick Change unfolds cleverly, keeping the audience in the dark on the robbery plot throughout the film's opening reel.

This charming tale of a quartet of Australian orphans who share a life-altering holiday in the 1960s should appeal to sentimental adults old enough to wax nostalgic over their own adolescences.