For the first time anywhere, filmmaking brothers Craig and Damon Foster capture this rare event as it happens, and it's something to see.

A deft blend of comedy, action, and romance.

His (Ross) sophisticated handling -- and the efforts of his able cast, notably the stellar Joan Allen -- produces a surprisingly accomplished cumulative effect.

Moodily filmed in an effectively Germanic style, with a neat supporting turn by Calthrop and fine set pieces such as the chase through the British Museum, BLACKMAIL still plays well, and is a suitable precursor to the master director's later work.

Aronofsky has given us a well-acted, gorgeously overwrought and luridly entertaining exploitation flick -- a midnight movie for future generations.

If there's pleasure to be derived from the misfortunes of others, then Julian Fellowes' wickedly entertaining adaptation of Nigel Balchin's nearly forgotten 1951 novel is a barrel of fun.

Even Wong's detractors, who consider him more stylist than auteur, will have a tough time dismissing the extraordinary emotional depth he achieves here.

Sumptuous historical melodrama.

A creepy, clever, film buff's delight of a fantasy.

The film becomes a complex tissue of intersecting lives, but Gleize handles each developing story with amazing ease, and the fabulist touches are the icing on a very tasty cake.

Godard's third feature film and his first in color, A Woman is a Woman is one of the most enjoyable of all the master's works.

A slow and pensive tone, but for all its lyrical pretensions it lacks real poetry.

Forgoing any voice-over commentary, these now-familiar images regain their original power to shock with the sheer enormity of the event.

This film's rhythms suggest nothing so much as a weirdly macho telenovela, full of family drama, isn't-it-ironic humor and maudlin twists of cruel fate.

It's essentially an urban variation on "The Hitcher" (1986) with nothing much going on underneath.

Perleman has little control over his characters; they simply go to pieces in the most ludicrous ways. He has even less control over Kingsley, who soon slips into full-blown Yul Brynner mode.

Bolstered by a beautifully shaded performance by Karanovic as a woman attempting to escape the torments of her past while securing a future for her daughter, Zbanic's film begs a pretty complex question: Is a love story possible in the aftermath of torture and genocide? The answer appears to be a tentative yes, both on the levels of the film and filmmaking, but it isn't easy.

Technically, The Tenant is superb, with stunning camerawork by Sven Nykvist, an eerie score by Philippe Sarde, and thoroughly convincing performances from the entire cast. (Review of original release)

While TESTAMENT is less sensational than the similar TV movie, "The Day After," first-time director Lynne Littman lays on the sentiment and symbolism a little thickly, and some may find the pre-disaster sequences slow going. The acting is undeniably strong, particularly Alexander's heartfelt performance.

Spike Lee's adaptation of a solid, if overpraised, crime novel by Richard Price is slickly made and well acted. But with most of the novel's subplots stripped away, it emerges as just another polemic about the scourge of drugs in the African-American community.

The film's crisp photography and energetic soundtrack liven up a mystery that occasionally defies logic and at other times is transparent--but that never loses our interest, primarily because of Washington's masterfully understated performance.

The film's nervous, gritty style is woefully out of sync with its broadly whimsical tone. Woody Allen is an acquired taste, and MANHATTAN MURDER MYSTERY is a movie for his steadfast fans only.

By far the silliest and most self-mocking of the series, with the interplay between Spock and Kirk veering somewhere between Hope and Crosby and Cheech and Chong, but also one of the most successful.

Unlike the work of either Jean-Luc Godard or Richard Lester (both obvious influences on Coppola at this point in his career), YOU'RE A BIG BOY NOW fails to have much impact beyond its lightheartedness. It is as if Coppola were too concerned with creating a style to put much effort into the implications of his material.

Even after it becomes clearer which side of law Harris is operating on, the film continues to work as a taut -- if violent -- police thriller.

Caton-Jones' refusal to pull back on showing exactly what happened to the 800,000 Rwandans who were murdered that spring means that strong stomachs and even stronger nerves are required, but the film demands to be seen by anyone attempting to grasp how -- and just how quickly -- genocide can occur.

An equally discomfiting mix of popular science and ballyhoo, serves up amazing images of the bizarre life that flourishes in the deepest ocean depths.

Bagdad Cafe is a visually exhilarating and consciously modern film, more concerned with projecting an atmosphere or spirit than with telling a story. It's hard not to fall in love with this comic fable about the magic that develops at the meeting of two cultures.