Animal lovers and museum-goers alike are sure to enjoy this curiously delightful hour-long documentary.

The film's opening dedication to Pasolini acknowledges Arslan's debt to Neorealism, but the gritty, documentary style is offset by a charming bit of chalkboard animation that helps lighten the mood considerably.

Based on the comic strip created by Charles Schulz, this is the fourth and the best of the animated films devoted to the charming antics of the "Peanuts" gang.

Maybe the life was edited out of it in the two years between shooting and release, or maybe Dominik was simply overwhelmed by the outsized myths of the West, but the film only comes to life after James' death, when Ford quite literally takes center stage.

The best thing about Fracture is the way in which it defies genre cliches and turns all Hopkins' mannerisms into assets.

The films of writer/director Francis Veber are a bracing reminder that French comedies can be every bit as broad, unsophisticated and cliched as their American counterparts.

A brightly colored, picaresque adventure that's equal parts telenovela melodrama and pop-magic realism.

Characters find themselves in absurdly complicated situations, but respond with sardonic cool rather than hot-blooded hysteria.

This version moves like a freight train, but suffers from a debilitating charm deficit. Wahlberg is no Michael Caine and Norton delivers what must be the sourest, most lifeless performance of his career to date.

A moody, subtle drama that has more in common with the tragedy of "Endless Love" than "Where The Boys Are."

Fly's striking, often suspenseful drama has all the elements of a Shakespearean tragedy: an insecure young prince who must prove his mettle and loses his soul; a cruel, manipulative queen who cares only for power; a close adviser whose motives aren't always clear.

Needless to say, anyone who's not entirely down with the beastly noise of the Beastie Boys will hate every second of it. This one's strictly for -- and, for the most part, by -- the fans.

While it doesn't miss a cliche, it also invests every one with vigorous conviction.

Wu is able to demonstrate both the timelessness and the universality of stories which, on the surface, sound extreme and unique.

Connery delivers his usual charming performance, and Brandauer (MEPHISTO, OUT OF AFRICA) makes a great Bond villain. Gone is the excessive gadgetry that mars Bond films, and, as a result, the characters are more prominent and colorful.

An exhilarating, sometimes terrifying monster of a movie that, once it gets you in its clutches, won't put you down again until the closing credits start to roll.

Documentary filmmakers Sean Fine and Andrea Nix Fine found an ingenious way to tell their story in a film that is as unflinching as it is uplifting.

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

Doesn't always work, nor does it measure up to their hilarious AIRPLANE!. It is, nevertheless, very funny as it lampoons two genres: the spy movie and the teenage musical.

Surprisingly sweet and good-natured, Dick Tracy is a highly stylized piece of fluff that's easier to digest than the ponderous pretensions of the equally over-hyped Batman.

This energetic hip-hop musical barely supplements the large-scale musical numbers with its cliched plot, but it does capture a sense of the break-dancing craze and is more entertaining than most of the films made to cash in on that trend.

Thoroughly heartfelt. But though Trachtman alludes to the impact that Lior's special needs and local fame has had on his family, she seems uninterested in exploring the larger history of beliefs and traditions concerning mentally challenged people and their closeness to God.

The giant computerized dragon alone is worth viewing. But Dragonslayer profits from spirited direction and camera work plus the expert Richardson at its nucleus.

A fascinatingly obtuse puzzle box that manages to be gripping even after it stops making sense.

Both a spy drama and an intriguing character study. Penn invests his Snowman with fascinating eccentricity and is the more interesting of the pair, though Hutton delivers an estimable performance as the sullen young falconer.

Propelled by a soundtrack as diverse as its international gallery of thieves, Jordan's cheerfully scruffy neo-noir caprice even lays on the religious imagery with a palette knife and sweetens Melville's ending without seeming terminally sappy.

Brawny, he-man spectacle combined with a surprisingly solid story and buttressed by excellent performances.

Moon is a small-scale film, but, thanks in no small part to Rockwell, its mix of thematic grandeur and human drama makes it a worthy successor to those 1970s science fiction films that inspired it.