Adapted from an award-winning novella by science-fiction writer Harlan Ellison, A Boy And His Dog has won a cult following of its own for its offbeat, sardonic look into the future.

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.

Martin is a shocking, thoughtful reworking of the vampire myth set in a dying American steel town. Well worth a look for anyone with even a passing interest in horror, and essential viewing for serious fright fans.

Exquisitely shot and the dark poetry of Levi's words, read at intervals throughout the film, is brought to haunting life by a suitably weary-sounding Chris Cooper.

Under the masterful direction of husband John Cassavetes, Gena Rowlands delivers a gutsy, spellbinding performance in this excellent crime film.

What should have been an important addition to popular films about women's rights winds up being the most insulting courtroom drama since "Ally McBeal" was put out of its misery.

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.

Lavish, interesting, evocative but strained and self-conscious, The Cotton Club is all watchable curiosity.

Actor Tim Roth's austere directing debut is one of the most difficult, emotionally wrenching experiences you're likely to have in a movie theater any time soon.

The film, beautifully shot in widescreen by Luca Bigazzi, is surprisingly accessible and always engaging, if ultimately tragic.

What's surprising is how bright and engaging these kids are, and for once you're left wanting more.

Delightful mix of swinging '60s style, road movie conventions and age-old romantic comedy tropes that coasts along on little more than charm, and does it delightfully.

It may be an old story, but Berri draws fresh poignancy from this December-May romance by identifying so empathetically with Jacques.

A truly trangressive film as unsettling as it is psychologically acute.

Not to be missed.

At least as much science fiction as horror, Horror Express has become a favorite in both genres and deservedly so. It's fast-paced, inventive, and wholly entertaining.

Cast mostly with Russians in all the Hispanic roles, this glamourfest is Hollywood politics at its most apolitical, lacking even the energy of a good B movie.

An example of how star power can compensate plot, this is the least electric of the Bogart-Bacall pairings; luckily, there's Agnes Moorehead, the screen's best hornet, to intervene whenever the going gets too lackadasical.

Douglas's Chief Executive is no vote-getter; he's a charmless, irritating boob who can't even order flowers for a woman. With friends like Douglas and Reiner, Clinton doesn't need Rush Limbaugh.

There was little room for Hitchcock's usual humor here, nor is there even much suspense.

Julie Christie is glorious, and that's most of what you need to know about this slight, loosely structured and self-consciously ironic soap opera in which two couples -- one young and troubled, the other older but hardly wiser -- get themselves into a series of fine messes.

The powerful movement of the movie is exhilarating, but it's all action with little characterization or plot. There is a moral here about mankind's lust for power, but it never clearly emerges from the spectacle of destruction and violence. Ultimately, AKIRA is really all about the animation.

A massive, sweaty, frequently silly epic that nevertheless delivers enough brute pleasure to pass a rainy afternoon.

British actor Timothy Spall gives a shattering performance as Albert Pierrepoint.

Finney and Keaton each have their heavy dramatic moments, but there is nothing in writer Bo Goldman's script that hasn't been seen and heard in a thousand other films.

There's an argument to be made that the film's ending is the logical conclusion of its notion that everyone's trapped in a limbo of disappointment, uncertainty and paralyzing fear of change. But it feels like a cheap cop out: The cast, and the audience, deserve better.

Barbarously beautiful and gut-wrenchingly (literally) violent, it's a mesmerizing vision of the past refracted through the dark obsessions of the present.

Directed by Muppet manipulator-actor-director Oz, Dirty Rotten Scoundrels is an amusing comedy whose strengths and weaknesses both stem from the broad treatment of the material. In going for easy, lowest-common-denominator laughs, Oz loses much of the subtlety and occasionally dark humor of the orginal.