Roger & Me is a pointedly hilarious documentary about a subject that isn't remotely funny, the indifference of corporate America to the lives of its workers. First-time filmmaker Michael Moore shows a city ruined, not by lack of drive and hard work, but by simple corporate greed. He uses humor to keep the viewer involved in what could easily have been an unbearably depressing film.

Harvey Keitel gives an astonishing performance here... Though hardly a film for all sensibilities, Bad Lieutenant has the courage of its own convictions, and follows them to the bitter end.

It's not about sex -- it's about Barbra and Bette and the Village People: That's the lesson of this cheerful, mainstream comedy about tabloid TV, Hollywood sophistry and family values that finally gets discussion about gay people out of the bedroom and into the record store, where it belongs.

A beautifully realized tale focusing on an ambitious but unfulfilled group of intellectuals, who react in differing ways to the illness that befalls their mentor, a brilliant writer (Francois Cluzet).

The second leads are far more interesting: Belushi brings a brash, hearty presence to the film, while Perkins is wonderfully acerbic. Their scenes together are the movie's best.

The film boasts fewer guest-star cameo appearances than the first time around but those who are here do a good job, and Miss Piggy's Busby Berkeley-type dance and the water ballet are fun to watch.

Xiao's bittersweet film is superficially a swoony love letter to the cinema. But her valentine has a hidden sting, rooted in some hard truths about movie mania.

Richardson's direction of this unhappy little gem gives off the appropriate dull glimmer while being economical and inventive.

Another of director Sirk's melodramatic, bitter attacks on the values of American middle-class life in the 1950s, this one stars MacMurray as a middle-aged milquetoast who lives in a claustrophobic home with his token wife, Bennett, and their three self-absorbed children.

After a positively thrilling first half, Brazilian director Andrucha Waddington's follow-up to his acclaimed 2000 debut "Me You Them" badly stumbles over an unfortunate casting strategy.

You just can't hate anything this energetic and happy.

Most of the film consists of meetings between different factions and groups, all conducted according to ancient tribal customs.

Not a film for everyone, but the unrelieved squalor of Barfly offers its own peculiar fascinations.

Dante gleefully trashes cliches and sentimental Capra-esque notions, but one should not forget this movie was given a "PG" rating and cynically aimed to draw an audience of small children who would no doubt be terrorized by this myth-shattering film.

An intelligent and very funny satire about the bloody game of American politics.

A little commentary would have helped put the tragedy of the Hillbrow Kids into sharper perspective.

Intelligent and engaging, this documentary about rave culture overcomes the challenge inherent in its subject; rave's appeal is by nature nonanalytical and experiential, while documentary films play to the intellectual observer.

The acting is uniformly superb, as is the rich, somber cinematography.

This teen-oriented gloss on Shakespeare's tale is cute and occasionally quite funny, but it's undermined by slack direction.

The film is not without its share of awkward moments, but as an insightful critique of "Girl Culture" and the mounting war over the hearts and minds of adolescent girls that's currently being waged in the media, it's mandatory viewing.

A comic masterpiece.

All three actresses are simply dazzling, particularly Balk, who's finally been given a part worthy of her considerable talents.

Harmon and Murray are cardboard cutouts of ideal boyfriends; the only male performer allowed to shine is newcomer Ryan Malgarini, who nearly steals every scene he's in.

Past and present, reality and fiction blend seamlessly into each other in Satoshi Kon's dream-like animated drama.

The excuse given here that Gerron couldn't resist one last opportunity to direct, even under the most grotesque circumstances, is really no excuse at all.

Portabella has no interest in conventional biography -- it's hard not to suspect that he included the tale of Felix Mendelsson (Daniel Ligorio) discovering the score for the "St. Matthew Passion" wrapping a meat delivery precisely BECAUSE it's probably apocryphal.

Thanks to a terrific performance by Freeman and slick direction by Jerry Schatzberg, this is a fast-moving, intermittently riveting crime drama.

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.