It's beautifully shot -- the sweat-drenched jukejoint scenes are particularly evocative -- and features a terrific performance by Ricci, one that deserves to be seen by a wider audience than the one certain to be reeled in by those torrid ads.

This movie marked a virtuoso return for Dreyfuss, who is captivating in his role.

Obviously filmed on a budget, production values leave much to be desired, but the power of the performances and the claustrophobic yet exciting atmosphere caught by the film more than make up for that.

This tricky film noir entry would have been routine had it not been for Bogart's magic.

The larger message remains clear: Unified communities have more power than they realize, and the most vicious enemy of progress is learned helplessness.

Overbaked but enjoyable, and a banquet for the eyes, thanks to the visual wonder of the Minnelli-Beaton teaming.

Wildly unconventional, corrosively satirical, savagely violent and vulgar, Natural Born Killers is more self-consciously radical (in form, if not necessarily in content) than any other major studio release in recent memory.

This is one of the most popular in the series, thanks to a high action quotient (including a tensely staged space battle), a suitably campy turn by Montalban, and the shock value of Spock's death. There is some novelty value, too, in the focus on Kirk's family life back on Earth.

Nothing about it is pretty, with director Mark Robson (who'd already helmed the powerful CHAMPION) moving the story along at a frenetic pace and Burnett Guffey's stark black-and-white photography lending a grim feel to the movie. All of the performers are excellent, especially Bogart, in what would be his final screen appearance.

Charming, if slight, Venus-and-Mars romantic comedy.

Ending the film with a perfunctory run-through of Lennon's murder on the doorstep of his Manhattan apartment building, however, foregrounds an unfortunate irony: Had the INS succeeded in forcing Lennon out of the U.S., he might be alive today.

Scenemaker Dito Montiel's rough, grating memoir of growing up in a poor, violent section of Astoria, Queens, in the mid-1980s features a few too many arty flourishes, but also packs a raw power that's hard to shake.

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

Once again, animals talk, sight gags abound, and the complementing temperaments of Hope and Crosby are mined to great advantage.

Zizek as a larger-than-life figure who manages to engage you even when you're not entirely sure what he's going on about.

A workmanlike piece of storytelling elevated by fine performances.

It's a serious and well-researched consideration of natural childbearing vs. hospital delivery that explores the larger social conditions and assumptions that shape women's choices.

This is a lean 90 minutes, packed with laughs and age-appropriate thrills -- not to mention a solid lesson for girls about self-respect.

The film is filled with sight gags and features a wonderful performance by Harris.

This remains one of the best screen explorations of mental illness and its treatment.

Director/co-screenwriter Rob Cohen shrewdly opts for a three-tiered approach to the biographical material, making DRAGON a poignant interracial love story, a thrilling kung-fu flick, and a surreal fantasy in the which the hero literally confronts his inner demons. Jason Scott Lee captures his subject perfectly, and his handling of the action scenes is particularly impressive. The result is one of the most purely enjoyable American films in recent years.

In this celebratory documentary, Agnes Varda, the wife of Jacques Demy, brings some of the players and extras together back in Rochefort for some reminiscences. In keeping with the thoroughly romantic nature of the musical, she also tells the story of how Les Demoiselles de Rochefort's extras found romance and had their lives changed by participating in its making.

An affectionate adaptation of Raymond Chandler's novel that beautifully evokes the seamy side of 1940s Los Angeles via superb production design and the same period atmosphere cinematographer Alonzo previously evoked for Chinatown.

A sly, self-mocking sense of humor is apparent even in Robocop 2's title, which identifies both the film's sequel status and its hero. And what a fantastic nightmare creation Robocop 2 is.

The 'Burbs offers a delightfully complicated portrait of suburban voyeurism, a portrait taken to its absurd extreme by Dante's introduction of foreign elements among his xenophobic characters, in a devastating satire of suburban values.

Sometimes stumbles into the trap of excessive predictability. But its amiable (and largely fictionalized) heart tugging still makes for charming all-ages entertainment.

French up-and-comer Alexandre Aja's full-bore do-over is a shockingly successful update of a seminal 1970s shocker.

My Fair Lady, for all its kudos, often seems bloodless and never achieves the heights of the production that ran on the Mark Hellinger Theater stage eight times each week from 1956 through 1962.