Allen presents a host of anecdotes and remembrances of things past, but one wishes it could have been slightly more cohesive. One of the joys in this picture is the soundtrack of songs of the period that will delight anyone who lived in those radio days.

Earnest, warm, and often very funny, VISION QUEST features a finely etched performance by Matthew Modine.

Clever, fast-paced and surprisingly moving.

Wise Blood, an unusual mixture of comedy, tragedy, satire and horror, is an uningratiating but haunting work.

A well thought-out script and fine direction keep a steady amount of tension, which doesn't let up until the survivors are rescued.

It's Alive is a justifiably praised low-budget effort that delves into the dark side of American family life from a horror-movie perspective.

We can only hope that the time frame is meant to be sometime before 9/11, and not after. Either way, it's a troubling vision of how terrorism and "martyrdom" occur on both sides of this ghostly war, and is both perpetrated and facilitated by the very forces enlisted to stop it.

A superior thriller, Play Misty For Me proved that popular actor Eastwood could direct himself in a film, concentrate on every aspect of the production from the visuals to the performances, and complete the shooting ahead of schedule and under budget. What he delivered was an engrossing study of how loneliness and longing can be transformed into irrational rage after a thoughtless act of selfish indulgence. Much of the credit must go to Jessica Walter for her outstanding performance which somehow manages to be chilling while at the same time sympathetic.

Surprisingly entertaining, if less than original.

For all the gushy feelings, the plight of women like Kiranjit, bound not only by domineering, often physically abusive husbands but by racism and oppressive cultural traditions as well, is poignantly portrayed.

Naturally there's plenty of adolescent drama both on stage and off, and if the film ultimately feels a little thin, that's also to be expected.

Serrill wisely divides his film into chapters according to year, which helps structure the story's natural repetitiveness.

Bigelow, who codirected THE LOVELESS with Monty Montgomery in 1982, and coscreenwriter Eric Red (THE HITCHER) demonstrate a keen understanding of the history of American cinema and create a unique film that explores the conventions of the vampire movie while moving it from dank European castles to modern-day Southwestern America.

The Witches weaves many classic childhood fears into its entertaining--and genuinely eerie--action.

The Kemps make THE KRAYS worth watching. And they're supported by a first-rate cast of female monsters and victims, and some compelling seedy bits by strong character actors.

Visually, Tess is a masterpiece, capturing in amazing detail the scenery and atmosphere of the England of yore. The film's chief drawback, however, is its lack of vitality. Instead of Hardy's passionate tale of ruin and disenchantment, Tess is cautious and reserved.

Appealingly Continental in look and style, Intermezzo continually verges on soap, but is redeemed by carefully calibrated performances and Ratoff's loving direction.

The period detail is evocative, Watson and Etel are particularly good, and baby Crusoe -- a computer-generated image seamlessly woven into the live action -- is a slippery little star in his own right.

It's wholesome fun for the whole family.

Argento here presents a stylish and compelling film that boasts remarkable visuals and an inventive use of sound effects and music.

A superb, timeless film which can and should become part of the treasured trove of minimalist art films that live on in memory and experience.

A fine directorial debut from George Miller.

Directed by actor Malden, the film is a tightly structured piece that forces its audience to think about the difficult issues it raises. Malden makes excellent use of his cast, wringing out emotion without bathos and adding flashbacks to Korea at crucial moments.

Martin makes his character amiable and downright lovable; Hannah shows a fire she hadn't demonstrated in previous efforts. In an era when romance seems to have taken second place to sex, it's heartwarming to see a film like ROXANNE bring back the loveliness of love.

An offbeat, existential crime drama buoyed by fine performances; nicely turned dialogue; and an evocative soundtrack and theme song from Paco di Lucia and Eric Clapton, respectively.

The acting is second to none: the two leads are frighteningly good in their psychotic roles and supporting characters are also well dileneated. But there are some technical problems with the film, notably too much shadow in the frame, several highly visible microphones and the choppy editing, which jumbles the story at times.

It's a back-to-basics, gore-and-gristle look at the no-frills nastiness of 1970s films, in which monsters, mutants and ghosts can't hold a candle to the sheer, unadulterated evil that lurks in the hearts of men.

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.