Unfortunately, the script leaves something to be desired--namely, dramatic impetus. Yet Hard Times is still an enjoyable film, and the depression-era settings are painstakingly captured.

This is a crude, shapeless talkie, a technically unsophisticated film in which the sound is static and the camera immobile, with the comedians leaping into the set scenes. Yet the boys are there in all their frenetic glory.

It's a thoughtful and ultimately chilling take on a tragedy that still has the power to disturb and divide.

Everything about this big, beautiful movie smacks of authenticity, excitement, and massive showmanship.

Marketing-minded folks may be quick to position Guncrazy as a 90s take on Bonnie and Clyde (1967), and its title is certainly meant to evoke Joseph H. Lewis's 1949 classic Gun Crazy. But this film is by no means as brash, startling, or iconoclastic as either. Its quieter character-study nature has more in common with They Live by Night (1949), its remake Thieves Like us (1974), and Badlands (1973). Compared to these three landmarks, Guncrazy comes up lacking in lyricism and resonance, but it does give ample pleasures thanks to a subtly self-aware sense of humor and fine performances by itstwo leads.

The film presents its characters in a series of vignettes rather than in a traditional story. While it gives evidence of cinematic skill, it has a tendency to draw attention to its film-school parentage.

This unashamedly old-fashioned coming-of-age story is nothing new, but remains highly watchable nevertheless.

The defendants – especially Hoffman and Rubin – baited elderly Judge Julius J. Hoffman, who never failed to take the bait; Seale was so obstreperous that Hoffman had him gagged and bound to a chair, another indelible image.

Refreshingly serious look at young women whose relative freedom doesn't mean they're particularly free.

None of this is funny, the surreal touches are ridiculous and the final fantasy sequence, in which the nameless ghosts of the murdered Wiener family smile on Josef, is simply nauseating.

The soundtrack, thick with catchy tunes by artists ranging from P.Diddy to Paul Simon, is a fine counterpoint to the story and visuals.

His epic reworking of their lurid conventions proved so long that it was divided into two parts, and this one ends on a hell of a cliff-hanger.

Terminal illness, depression, suicide and one very angry young man: If there's such a thing as a kitchen-sink comedy, writer-director Lone Scherfig's sad but often very funny film is it.

Caustic, vivid, and without question the best major film about recent conflicts in Latin America.

Siegel develops some interesting themes that he would later explore in John Wayne's outstanding final film, The Shootist.

For all her own frustrations, Davenport is honest enough not to gloss over the fact that what Muthana's adventures in the screen trade taught him was to hustle, toady and ingratiate himself to useful people. And she helped.

A cute, slight tale.

This sequel to the terrific The Seventh Voyage of Sinbad, is great fun--with a minimum of plot and a maximum of wonderful Ray Harryhausen special effects.

Of the long list of couples who have loved neither wisely nor particularly well, few have such power to disturb as Burton Pugach and the love of his life, Linda Riss.

While at times overly familiar, the film never feels self-mocking.

Robert Waller's inexplicably colossal bestseller is transferred to the screen with more art than it deserves, but neither old-fashioned Hollywood craftsmanship nor the massive star power of Eastwood and Streep can compensate for the story's intellectual slightness and emotional implausibility.

Filmmaker AJ Schnack's hauntingly beautiful film is a bold and successful attempt to recover the human being who disappeared under the heavy mantle of "face and voice of a lost generation," and whose life has been increasingly overshadowed by his sensational early death in 1994.

Powerfully acted, intensely carnal drama.

What begins as a gripping adventure, thrillingly told with virtually no dialogue, eventually becomes a rather routine parable despite the unique setting and circumstances.

It's an old story, but at a time when high-school-aged athletes are wooed away from real-life with staggering, multi-million dollar endorsement deals, it's one that bears repeating.

Bleak and complex moral thriller.

Boulanger is completely captivating as the kind of kid Truffaut would have adored, but it's Sharif's show. Next to his portrayal of Yuri in "Dr. Zhivago", this may be role for which he'll be best remembered.

Supremely silly on the surface but full of sophisticated sight gags and deadpan humor.