The plot is suitably slight, allowing plenty of room for the barrage of jokes that roll off Dangerfield's tongue. The result is unsophisticated, unilluminating, unambitious, and hilarious.

An entertaining thriller that stumbles occasionally on overlong dialogue sequences.

A funny if somewhat retrograde film.

Breezy is a small, personal film that allowed Eastwood to work with talented actors and experiment with directorial style. If he had chosen a more intelligent script, he could have produced a minor classic.

Fairly lackluster Disney effort is saved by Niven's great performance.

If you're a Martin fan, you'll love All of Me; if you aren't, there's still enough fun in spots to make it worth your time.

An offbeat Italian western that has a sense of cocky fun about it.

This is the sort of yarn that Runyon told well and often: hard-hearted wise guys melting when they have to put aside tough talk and show their true emotions. It'll have you showing your emotions, too.

Unlike many first-timers (especially during the indulgent late 60s), Pakula uses understatement, avoids cinematic tricks, and carefully guides young stars Minnelli (who was nominated for an Oscar) and Burton, who was making his screen debut after starring on Broadway for three years in the title role of "You're a Good Man, Charlie Brown."

Though the script is a bit dense and the film slightly overlong, it's exciting and engrossing on all levels.

As in the first, THE CURSE OF FRANKENSTEIN, he concentrates upon the figure of Cushing as basically a well-meaning doctor who runs a charity hospital but is the victim of undue prejudice. The gory effects, however, come out the same, with this one surpassed in its shocking effects perhaps only by Warhol's version.

This handsome, elegant and restrained fable about love, artifice and power in fin de siecle Vienna is lavishly imagined and yet oddly airless.

Even if it doesn't up live to its inspired beginning, Mike Judge scores something with all the marks of a workplace cult classic with his first big-screen, live-action outing.

If one masterpiece were to emerge from the recent glut of generally good quality Japanese horror movie, this chilling apocalyptic ghost story from Kyroshi Kurosawa is it.

No, it isn't as magically enchanting as the 1952 children's classic by E.B. White, any more than a museum-shop print of La Giaconda is as mysteriously beguiling as Leonardo's original. But this respectful, live-action adaptation of White's gentle tale about an undersized pig, a clever spider and the everyday marvels that too often pass unnoticed is a charmer nonetheless.

A must-see for horror fans, with more than one viewing recommended.

Levy and Guest train a glaring spotlight on the self-absorption, vanity, delusions and histrionics of the movie community, but clearly love them even at their silliest.

Craig Brewer's sweaty, feel-good story about a small-time pimp and dope dealer making one last, desperate grab at his long-deferred dream is driven by longtime supporting player Terrence Howard's subtle, go-for-broke performance as Memphis mack Djay.

The film is dazzling in its use of color and odd shapes and is enhanced by the distinctive voices of Ed Wynn as the Mad Hatter, Sterling Holloway as the Cheshire Cat, Jerry Colonna as the March Hare, and Verna Felton as the Queen of Hearts.

Courtroom dramas that favor the courtroom over the drama are always in danger of eye-glazing dullness.

One of the first American films to present the philosophy--rather than just the warmongering--of fascism as a danger, WATCH ON THE RHINE is rather dully helmed by stage director Shumlin, who too often fails to avoid the static pitfalls of so many play adaptations.

From its ominous opening to its spectacular climactic stunt, the hypnotic precursor to director Tom Tykwer's "Run Lola Run" is a quieter but creepier affair.

Characters' eccentricities feel contrived and the wackiness seems forced, though the film's amiable ambling does keep the viewer intrigued, if not charmed.

The conclusion, clearly meant to feel ambiguously poetic, is distinctly unsatisfying.

This savvy adaptation of Robert Ludlum's action-clogged 1980 bestseller benefits from the fact that the filmmakers were smart enough to throw out most of the book's preposterous spills and thrills and concentrate instead on its intriguing central character.

This hockey movie scores, thanks to director Gavin O'Connor's ability to skate that fine line between inspirational and melodramatic and achieve a satisfying balance.

It's just plain exhausting to watch the admirably game cast members running around like headless chickens in chic period clothes, surrendering their dignity to the task of navigating the plot's frenetic contrivances.

THE LONG RIDERS is one of the last great westerns made in America, directed tautly by Walter Hill from an excellent, well-researched script. The cinematography by Ric Waite is magnificent, the period is beautifully captured, and Ry Cooder's outstanding score nicely incorporates folk music of the era. The whole feeling of this film is one of antiquity, an atmosphere marvelously created by Hill and enhanced by a superb cast.