The wonderfully drawn characters and their soap-opera entanglements are dryly amusing and well played.

A sober, earnest drama about child abuse.

Somewhere beyond the extremes of "Fatal Attraction" and "In The Company of Men" festers this elegantly composed, outrageously violent psycho thriller.

The performance sequences are in color, while the recording sequences are in B&W. Jacquot's strategy allows his cast the benefit of being able to give full performances (Raimondi is a particularly good film actor) while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself.

Haroun and cinematographer Abraham Haile Biru carefully frame their characters with a painterly elegance that is at times truly startling.

While the film is unabashedly pro-Kerry --Butler and Kerry are longtime friends -- it isn't simple hagiography; it's also a portrait of Vietnam War-era America.

Although one of his earliest films, SISTERS still stands as director Brian De Palma's greatest contribution to the horror genre.

Returning director Richard Donner seems to have smoothed over the few stylistic rough edges remaining from the earlier film to deliver here two hours of pure, breathless, high-impact entertainment.

There's nothing subtle about Pelegri and Harari's culture-clash romp, but it's sometimes frantically funny; that it's thoroughly forgettable is an issue only if you expect it to do more than poke easy fun at the thorny issues it raises.

Aside from a little eleventh-hour pseudo-mysticism about death and the weight of the soul, the story is really little more than a unusually gripping thriller.

Director Morita does an exemplary job of bringing a Japanese graphic novel to the screen.

A frustrating lack of details compromise this much-needed look at how the promise of American diversity failed a community of Somali refugees in a large Maine town.

At best, this is a kiddie movie with a few laughs for the easily pleased adult.

A brisk dramatic comedy that combines melodrama, humor and social critique in equal measure.

Ferociously entertaining.

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

The horror of LaBute's articulate, self-deluded characters is that they're both sharply drawn and just vague enough that you can insert face here.

MacKinnon's film draws on his past as a youth worker and features a standout performance from first-time performer Harry Eden.

All the performers either overact laughably or underact to the point of just standing in place and speaking lines in a monotone. Whether the film ever stopped anyone from smoking marijuana is doubtful, but it certainly turned out to be a greater success than its producers ever dreamed.

The film's outstanding beauty is not enough to compensate its slim story, which remains preoccupied with the duellists' insane obsession with military codes of conduct and personal honor.

CITY SLICKERS successfully skirts the chance for a cheapshot gag comedy and becomes a friendly, heartfelt celebration of friendship and community, greatly aided by a funny and moving script by Lowell Ganz and Babaloo Mandell (PARENTHOOD, VIBES, SPLASH). Ron Underwood's direction complements the script and, while evoking memories of old Western films and TV shows, never overshadows the acting of a uniformly capable cast.

If you ever wondered why they call it "the curse," this movie will enlighten as it entertains.

Unlike his models, however, Smith hasn't demonstrated that his sensibility reaches much beyond bathroom humor and meaningless drift.

A first-rate production full of nonstop action and inventive special effects but what truly makes Robocop spellbinding is a superior script.

A rather tepid anthology film, CAT'S EYE is a pastiche of leftover Stephen King notions, connected by a ubiquitous cat that ominously appears to set off each tale.

LaLoggia shares his unique vision with the viewer through an imaginative and innovative visual style that flows skillfully from traditional naturalism into surreal dreamlike fantasies and back again without ever seeming gratuitous or clumsy. A remarkable film.

An enjoyable hour-and-a-half for adults that creates a wholly unique world of colorful sets, costumes, and characters.

The result is very much worth the wait, bringing to life the mysticism of Mexico with a superb script by Guy Gallo, exquisite photography, and the unparalleled performance by Finney.