Though the film gets off to an indifferent start, bogged down by too many talking heads, by the time Cochran plunges headlong into corruption, Scott is operating at something like full throttle.

Works because of the utterly charming leads and a strong supporting cast.

Ambitious, but only sporadically engaging.

Veteran conspiracy buffs probably won’t find much of Stone's material particularly new, but Stone’s film does serve as a neat summary for the rest of us while offering a number of intriguing insights into how conspiracy theories work and what they say about specific cultural and political climates.

It's rendered in shiny, state-of-the-art CG animation, not the charming pen-and-ink drawings with which Seuss illustrated his own books or the hand-drawn artistry Chuck Jones brought to the 1970 Horton Hears a Who! short. But considering the messes that came before, that's a minor quibble.

It's genuinely funny, oddly romantic and surprisingly engaging for what could easily have been an obnoxious vanity project.

A zesty, satisfying celebration of animation, fantasy, love, and the Beatles that pleases the eyes as much as the ears.

Provides an exquisite representation of the emotion and pride in this microcosm mining community. (Review of Original Release)

However you feel about her character and what she may or may not have done, Tamblyn's portrayal of Stephanie Daley is softly devastating.

Unusually detailed animation glides hand in hand with the film’s aura of wonderment.

Lots of laughs.

Though at heart a tightly-wound, bitterly bleak comedy of manners, Eyre's film is less funny than brilliantly squirm-inducing, a dissection of bad behavior via rapier-sharp dialogue.

As is always the case with compilation films, some segments are far better than others. But they're all so brief that the least of them passes quickly and the best are small miracles of economical storytelling.

These adventures would be offensive if you could take them seriously, so it's probably good that you can't. Despite a nicely understated performance from Robert Duvall as a cop on Douglas's trail, Falling Down fails to convince on any level.

Stone intentionally set out to make a good old-fashioned liberal drama about the evils of unchecked capitalism. This approach results in a film with few shades of gray and lots of moralizing speeches, but Stone nearly pulls it off through his usual visual verve and keen casting instincts.

Beautifully photographed in the wilds of Utah, this film unfortunately doesn't know when to stop; it feels consumed by a self-concious desire to be arty, and offers a treatment too cool for its subject matter. The dialogue, by John Milius and Edward Anhalt, is full of homespun homilies that undercut the attempted seriousness.

The diverse elements of the plot are fairly complicated, but Lumet is a strong director who knows how to effectively weave these components together. Gere, in one of his better performances, is the all-important connecting factor. The secondary roles are well cast, with Washington and Learned giving the most assured characterizations.

Although the story is admittedly slight, Redford demonstrates a tremendous understanding of his subjects, wealthy white suburbanites who struggle to conceal the rage and fear that eats away at them. His quiet, gentle direction is epitomized in memorably painful moments, such as the famous photo scene, when the squelched feelings threaten to explode.

Though impressively ambitious and making the most of a small budget and talented cast, director Ari Taub's feature concentrates so intently on the day-to-day minutiae of infantry life on World War II's European front that the bigger picture gets lost.

The on-ice violence is hyperreal, the emotions believable, and the laughs plentiful in this slightly off-the-wall comedy.

Kindergarten Cop is actually fairly entertaining, buoyed by Schwarzenegger's self-deprecating charm and easy chemistry with his capable costar, Pamela Reed, and the hammiest bunch of tykes ever assembled for a movie.

Low-key comedy detailing a day in the life of an L.A. car wash, featuring an ensemble cast of superb performers.

Jones handles his fellow actors well, drawing a hard, anguished performance from Pepper and allowing January Jones (no relation) to bring a touching vulnerability to Mike's bored, vapid, baby-doll wife.

Handlers, spin-doctors, and the good man they lead astray. Jeremy Larner's Academy Award-winning screenplay provides a voyage into the sea of politics; the result is a fascinating film that sometimes feels like a documentary. Despite minor glitches, this is a prophetic glimpse of politics in the age of TV.

Under the masterful direction of husband John Cassavetes, Gena Rowlands delivers a gutsy, spellbinding performance in this excellent crime film.

An engrossing, if occasionally ludicrous, hit tearjerker with Pollack, Streisand, and Redford doing a good job of bringing Arthur Laurents' script to the screen.

Hits the ground running and never backs off until an ending that is disappointingly diffuse. (Review of Original Release)

Briskly directed by "Sex and the City" veteran David Frankel, the movie is far better than the source.