The most affecting parts of this film are its quieter, character-driven moments, and it's beautifully acted; if there is indeed an "Argentinean New Wave" afoot, Brédice might be its Anna Karina.

That Techine manages to coax a somewhat happy ending from this staid, somber film is heartening proof that what doesn't kill us might indeed make us stronger.

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.

An interesting, often absorbing offbeat western with excellent production values.

Bana's performance is nothing short of electrifying.

Bopha!'s intentions are all good, but it preaches (and that is the operative word) to the converted.

Rarely do movies portray the elderly with such admiration and respect.

Less a sequel than a variation on a haunting theme -- the nature and origins of humanity.

This film captures the disillusionment of returning WWII vets, and brilliantly addresses itself to many of the director's characteristic concerns--masculine fear of domestication and attendant resentment of women; the tensions of masculine friendship; women's complicity in their own oppression; the compromises demanded of artists functioning under capitalism.

Ryan has a wonderful way with Hartley's often difficult dialogue, and is engaging even when the rest of the film is not

Before director-writer Bob Zemeckis found success with blockbuster hits ROMANCING THE STONE and BACK TO THE FUTURE, he directed this raunchy, hysterically funny comedy. Kurt Russell turns in a brilliant performance.

The talents of the wonderful Jonathan Pryce are wasted in this poor adaptation of Ray Bradbury's tale of fantasy and the supernatural.

The accolades are typically gushing - Bono likens Cohen to Byron and Shelley.

Director Tim Burton and his screenwriters bring a heavy-handed, plodding realism to bear on what should be pop-mythic material.

Surprisingly enough, puberty-stricken J.D. and Chowder actually sound like real teenagers, but the cartoony look will probably alienate real-life kids that age, and the man-eating house might be downright terrifying to younger kids.

The shame of it all is that Kane somehow managed to assemble an extraordinary cast, whose fine performances can't surmount the tedium of his script.

One of the many terrible ironies laid out in vivid detail by Justman and her subjects is that many of those accused were among the Party's most ardent members: Jews who wholeheartedly embraced Communism.

Warm and thoughtful tale.

Exciting, suspenseful drama.

This is as powerful a set of evidence as you'll ever find of why art matters, and how it can resonate far beyond museum walls and through to the most painfully marginal lives.

Patwardhan offers no solutions, but poses disturbing questions.

The film's much-vaunted stunts are deliberately unrealistic, from over-the-top wire-work to CGI-soccer balls that streak through the air like flaming cannon balls.

The film flawlessly captures the directionless alienation of youngsters whose families are in no shape to guide them through the turbulence of their teenage years.

Perry's careful juxtaposition of images showing the town's sad present with footage of what it's long ceased to be is positively haunting.

Marvelously entertaining, and occasionally brilliant, political satire.

A powerful piece of documentary filmmaking.

Dong shows how intolerance has the power to deform families, then tear them apart. At 75 minutes, the film is too short; each story deserves a full hour of its own.

Unpredictable and hugely entertaining.