Trumbo, directing his first film, drives home his points in a somewhat obvious, often awkward fashion that is overly talky, but so disquieting is his story and the reality underlying it that it is difficult not to be moved by the film and Bottoms' fine performance.

Rescued from its inclination to smug, celebrity-testimonial-driven hagiography by Gehry's own considerable charm and infectious enthusiasm.

Hoch's considerable skill speaks to an extraordinary empathy and a willingness to understand where even the toughest customer is coming from.

The action is confined to a single set and atmosphere is appropriately claustrophobic, but the image quality is harsh and flat. This accentuates the oppressive meanness of Vince's hotel room, but makes for some unpleasant viewing.

If nothing else, this utterly charming -- if ultimately inconsequential -- road picture proves that there is such a thing as German romantic comedy.

While Rachel's story is fiction, many of its incidents are rooted in historical events carefully researched by Soeteman and the film's briskly staged action and stunning reversals of fortune ensure that its two and a half hours fly by.

Delightful, off-the-wall, and ultimately moving.

This intimate, bittersweet romance is proof that a familiar story and the trappings of a done-to-death era can still seem fresh and engaging in the right hands.

Director Ron Howard has a good sense of the whimsical, and his film is sweet and unpretentious, though somewhat ribald when one realizes the studio from whence it sprang.

Though the film's downbeat ending was softened for U.S. release, it's still a long way from happy.

Khoury may be a few years too old to play a minor still squirming under her father's thumb, but her performance as a timid young woman who finds strength while looking for a husband is quite affecting.

In a perfect world, screenwriters would be forbidden from using cute pre-teens to make up for creaky plots; Clint Eastwood would stop churning out his patented over-the-hill-but-still-tough routine; and there would be an injunction against Kevin Costner doing death scenes, especially ones as long and meandering as a cross-Texas road trip.

Celebrated Italian horror maestro Dario Argento (SUSPIRIA, DEEP RED) co-produced and provided the lively rock score with his band, Goblin. Though all of the performances are at least adequate, this is not an actor's movie. Believe it or not, this is a film about ideas as well as gore. Nonetheless, this is strong medicine and not for all tastes.

Adapted from Kirsty Gunn's acclaimed novel, New Zealand director Christine Jeff's debut feature is a small masterpiece of atmosphere.

A lovely homage to a charismatic star.

That this handsome, three-hour extravaganza coheres at all is a small miracle; that it actually leaves you wanting more is a major one.

The silliness of the whole concept is handled with a sly sense of humor by director Dante, with some tongue-in-cheek appearances by Keenan Wynn, Kevin McCarthy, Paul Bartel, Barbara Steele, and Dick Miller adding to the fun.

Shopsin is a small piece of New York history, and Mahurin's film is the portrait he deserves: small, noisy and oddly engaging beneath the bluster.

David Lynch lite.

Warmly funny and very moving.

With his deadpan delivery and snide quips, Murray more than holds his own amid the myriad state-of-the-art special effects.

What's suspenseful - and so troubling - is seeing exactly how far the "progressives" of GCS are willing to go to put a decidedly unpopular candidate back into office, regardless of what it will mean for the future of the country and for Bolivian democracy itself.

Kechiche's film is bursting with life: Shot entirely on location using surprisingly long takes, all of it feels surprising authentic, even as these young kids attempt to spout dialogue that's nearly 300 years old.

The atmospheric opening is the best part--moody and full of sinister potential. After that, it's stilted drawing-room talk, variably acted, except for the cultish over-the-top dementia of Dwight Frye. Still, Dracula is the film that started the 1930s horror cycle, secured Universal's position as the horror studio, and made Hungarian actor Bela Lugosi a worldwide curiosity.

Nelson is most believable in a nonhoofing role.

Say what you will about feel-good films anchored by feisty old broads, the English have a knack with them and Stephen Frears' fact-based tale of a formidable, aristocratic widow who makes it her mission to put naked girls on the London stage is delightful.

This enchanting adventure story about a pair of poor Irish lads and their possibly magical horse is a vivid reminder that there is more to kid film culture than animated toys, chop-socky amphibians, and Macauley Culkin vehicles.

It's Grade-A schlock, but not without depth: critics have detected feminist overtones in this movie, one in which men prove eminently dispensable in the quest for happiness.