The Armenian-American quartet have taken it upon themselves to teach their fans about what happened to their families in that now-forgotten time, a deeply personal mission that has proven effective in politicizing their audiences.

Although hardly believable, the story is effective, making its rather unwholesome characters sympathetic.

The crews are perfectly cast for maximum drama.

Shot from the animals' point of view and narrated by Dudley Moore, MILO AND OTIS contains some important messages about the responsibilites of friendship. Slow in spots, but a treat nevertheless.

One of MGM's biggest box-office hits, the epic QUO VADIS offers a spectacular cast to match its overwhelming production; there's plenty to enjoy, but don't look for greatness. Over it all looms a loony Ustinov as Emperor Nero, despite director LeRoy's best efforts to keep him from chewing the scenery as he enjoyably steals the show.

Adding to the excitement of Psycho III is Perkins' willingness to take chances with his style and material.

Sleek, stylish and ephemeral as a fireworks display, Ocean's Thirteen is the definition of light, but not totally brainless, entertainment.

Cary Grant is at his most suave and Grace Kelly is stunningly beautiful in To Catch a Thief, a bubbly and effervescent Alfred Hitchcock romantic-suspenser that finds the Master in a relaxed and purely entertaining mood.

Overall, McGrath's film has superior star power (including Gwyneth Paltrow in a one-scene role as a Peggy Lee-like chanteuse), is franker about the sexual nature of Capote's fascination with the murderous Smith and his sad, strangled dreams, and spends more time establishing Capote's glittering New York life before setting him adrift in the heartland.

A Bronx Tale tries to cover too much ground; racial conflict, family drama, first love, the lure of the gangster life, and the joys and tribulation of coming of age in a kinder, gentler New York are all crammed into the slight story. It all feels too familiar to sustain the viewer's interest, but Palminteri's and De Niro's equally compelling performances help give it life.

Surprisingly good follow-up to the original tough crime drama.

James Ivory's direction is meandering in the best sense: Rarely obvious or predictable, he quietly builds a complex portrait of a intimate family.

The usual fine performances from Bergman's regulars combined with a script that is not as ponderous as much of the director's other works earned THROUGH A GLASS DARKLY an Academy Award for Best Foreign Film of 1961 and an Oscar nomination in 1962 for Best Screenplay.

Singleton gets points for exposing the hypocrisy of "politically correct" institutions, but stilted dialogue and cardboard characterizations undermine the message.

A star vehicle for rapper Ice Cube (who also cowrote and coproduced), Friday is a lighthearted, comedic presentation of the realities chronicled in dramas like "Boyz N the Hood."

Sturges's direction, given the confining nature of the settings, is masterful, and the cinematography headed by Howe and pieced together by many others is sometimes stunning.

This sequel may be a bit thin on plot, but who cares when Jackie Chan is at his daredevil best?

The story eventually resolves itself a little too neatly, but it never devolves into a freak show or a fable, thanks in large part to Farmiga and Stahl's deft, quirky performances.

Neither a buddy-buddy action-comedy nor a pyrotechnical showcase of explosions and stunts, NEXT OF KIN--an intelligently made and moodily atmospheric action melodrama--provides solid, satisfying entertainment while demonstrating just how effective a fully realized genre film can be.

An enjoyably ironic rethink of a beloved fairy tale.

Elegant and stylish in the best Agatha Christie tradition--a thoroughly entertaining if poky whodunit.

Diablo and director Jason Reitman never undercut Juno, whom Page brings to a fully rounded life (no pun intended) that verges on the frightening: Her vulnerable center doesn't belie her formidable exterior -- it just makes her more than a sitcom-patter machine.

On a narrative level, Troell seems to occasionally take on more than he can handle; from time to time he leans toward an ensemble approach, with multiple, intersecting stories, but the film lacks the length to sustain this, so we are left with fragments of substories that never fully blossom.

Kenan and Kel share a wonderful comic chemistry that has a lot in common with the anarchic goofiness of Abbott and Costello or Martin and Lewis, leavened with a good deal more mutual affection.

All dressed up with no script to go, but a feverish nerve jangler nonetheless.

Indecent Proposal is as relentlessly entertaining as it is silly--so shamelessly over the top that you watch in a mixture of horror and delight as the drama unfolds toward a climax that is truly mind-boggling.

The humor is spotty but when it works, it is hysterical. Raves go to Terry-Thomas for producing some riotous comic moments.

A feel-good movie for anyone who's ever wanted to see yuppies burned, blown up, or dropped from the sky.