This violent film, typical of Peckinpah's slam-bang action movies, relentlessly depicts ruthless robbery and murder, not to mention adultery, kidnaping, bribery, extortion, and general mayhem. The vivid direction and lightning pace, however, make the film completely fascinating.

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

New songs--"Pass That Peace Pipe" and "The French Lesson"--and sensational choreography contributed to making this an impressive debut for director Charles Walters and a big hit for MGM in 1947.

Surprisingly effective supernatural tale in which there's more to fear from the living than the dead.

Not for all tastes, but produces haunting juxtapositions.

While Poirier's gentle touch is part of the film's overall charm, it's also what may lead some to find the whole journey a little draggy. Nevertheless, it's a good way to spend a couple of hot summer afternoon hours: It's often very funny, the acting is fine and the gorgeous CinemaScope cinematography manages to capture all the raw beauty of Brittany without ever coming off as pretty-pretty.

Actor-turned-first-time-filmmaker Liev Schreiber tosses out most of what made Jonathan Safran Foer's too-clever-by-half debut novel so precious, rooting out the heart of Foer's story from the precocious bombast.

Pare lacks charisma as Eddie, but the Bruce Springsteen-like music (by John Cafferty, who dubs Eddie's singing voice, and his Beaver Brown Band) was good enough to put the soundtrack album in the Top 40 charts.

Most of Cassavetes's cinema verite films as a director are invariably accused (and with some justification) of being rambling, self-indulgent, and unfocused, but it is precisely those elements that make his best work so affecting and memorable, and Husbands, though deeply flawed, is one of the finest examples of that.

Lee occasionally stumbles as a documentarian... But the material is so profoundly moving that it hardly matters.

Though SEARCHING finally ties up its loose ends a little too neatly, what comes before that is a joy; an engrossing, witty story about far more than chess, directed with a flawless eye for detail and superbly performed by some of the best actors around--including young Mr. Pomeranc.

While it remains a treat for the eyes, NICHOLAS AND ALEXANDRA suffers from the filmmakers' attempts to tell too much.

The performances of Caan and Richardson are excellent, and the rollerball sequences are fast-paced and interesting.

Redford and the Oscar-nominated Natwick, fresh from their Broadway triumph in the play, perform with the ease familiarity brings, and Fonda and Boyer also display the appropriate lightness of touch.

Some four decades after the birth of the gay-rights movement, the excess and sexual abandon of gay life in the '70s seems more an aberration than an accurate picture of out-and-about gay life at the end of the 20th century.

Inspired by accounts of underage vigilante girls in Japan turning the tables on Internet predators, playwright Brian Nelson's schematic tale of the hunter captured by the game, a queasy blend of exploitation-movie nastiness and blunt moral lesson.

An intriguing, if flawed mystery set in the shadowy subterranean world of undocumented Mexican immigrants.

Although the mystery itself is nothing special, Argento uses the narrative structure as a jumping-off point for his virtuoso murder sequences, which are incredibly well orchestrated and inventive.

[Jude] is bristling, muscular Victorian noir. Of the scant handful of previous Hardy adaptations, none can match its intensity.

Sounder is one of the truest examples of a family film ever made and a triumph for all concerned.

Held together by the sheer power of Klaus Kinski's performance as the vampire, Nosferatu, the Vampyre evokes several scenes (practically shot-for-shot) from the Murnau classic while slightly altering some of the original's thematic structures.

Monica Cervera's fearless performance as the homely Marieta, whose movie-made dreams of glamour will never come true, is mesmerizing.

PERSONAL BEST offers a detailed, believable insider's portrait of the world of track and field. This very different sports film isn't for everyone, but patient viewers should find many small pleasures in it.

Trust is stylishly photographed and crammed with quirky, offbeat incidents and dialogue.

You'll laugh and hate yourself for it.

Where Cassavetes often uncovered the grotesquerie underlying such desperate lives -- usually after one round too many -- Buscemi's vison is rooted in compassion and a quirky humor that's entirely his own.

That this deceptively quiet crime thriller about an ex con's troubled homecoming sat on the shelf for four years before finding commercial distribution speaks volumes about both the voracious appetite for sand/surf/summer-break cliches and Hollywood's willingness to pander to it.

A deeply moving film, marked by superb direction of its intricate story from Mervyn LeRoy, and by the strong performances of Colman and Garson.