A loving, dramatic comedy that resembles early Frank Capra in its patriotism and sentiment, this movie just misses on several levels but has enough humor to make you smile and enough corn to warm anyone's heart.

Colorful Cajun noir, spicy, romantic, efficient.

Ejiofor's polished, energetic performance -- including several song-and-dance numbers -- enlivens what's basically comfort food in movie form, but sometimes comfort food is exactly what the doctor ordered.

Given the controversy, which strongly suggested that the filmmakers had it in for President Bush, the film's biggest shocker may be how kind Range and coscreenwriter Simon Finch are to him.

It may not be by-the-book history -- a relative term in any event, when discussing the ancients whose worldview embraced men, gods and monsters -- but what a spectacle!

Lafosse's razor sharp dissection of relationships strained to the breaking point is hypnotic in a road-accident kind of way.

The movie's refusal to treat young girls like silly tramps-in-training is almost radical: It's just good, clean fun and actually offers children of a certain age a role model even adults can feel good about.

This hard-hitting crime film, based upon the notorious career of one-time New York City vice lord Charles "Lucky" Luciano, was a tour de force for Davis who had just battled Warner Bros. to a standstill in a contract dispute.

A sprawling, messy, frustrating and impassioned examination of the psychological fallout from America's obsession with a highly artificial and all-but unattainable standard of beauty.

Russ Meyer's Beyond the Valley of the Dolls is an outrageously entertaining cult classic, and probably one of the most bizarre movies ever produced by a major Hollywood studio.

Imbued with great atmosphere by director Jack Arnold, the film is genuinely frightening, but also elicits a certain amount of pathos for the creature, reminiscent of that that goes out to the unfortunate King Kong.

Featuring some strong performances from a cast that includes Dabney Coleman and Ally Sheedy, convincing re-creations of defense technology, and nicely modulated tension, WARGAMES is a generally effective message film.

A down–under fable with a sweet country-music twang.

The supporting cast is excellent, especially Scott Wilson as an astronaut who flipped out on the launching pad and aborted his mission. Offbeat, visionary, and challenging.

Mitevska telescopes centuries of conflict between nations into an intimate story of siblings whose hopes for the future are being slowly poisoned by the sins of the past.

A touch labored but lovable.

THE IDOLMAKER takes itself too seriously, but is nonetheless one of the best and most energetic film treatments of the early days of rock 'n' roll and a fine depiction of how performers are groomed for stardom (far superior to THE ROSE).

A lot fresher and bit more sophisticated than the ordinary run of maudlin chick flicks and crude gross-out sex farces that now pass for romantic comedies.

Donen's direction here is a trifle trendy and frantic, with sometimes jarring results.

An imaginatively constructed soap-opera with a high-powered cast.

Dramatically simple but emotionally complex.

By the film's downbeat climax, Cerda's dread of death and uncertainty about digging too deeply into what's better left buried have become palpable, and The Abandoned lingers beneath the skin as any decent horror movie should.

While Lee fails to impose sufficient structure on his material, expertly drawn performances help vividly to evoke the family and street life of an era untroubled by crack or drive-by shootings.

"Masala" refers to a mix of varied spices, and one of the strengths of MISSISSIPPI MASALA is its own collection of colorful characters.

Ambitious, deeply flawed and studded with sequences that achieve pure, majestic greatness.

Efron's remarkable performance as a wild child who seems to truly exist somewhere betwixt and between is riveting.

Screenwriter Richard Matheson did a fine job of adapting Poe's rather limited (for films) short story by saving the dungeon sequences for the climax and then creating a rather interesting plot line to lead up to it. One of Corman's and AIP's best.

It's easy to envision the big-budget remake, but hard to imagine a mainstream American production capturing the original's sour, sweaty immediacy.