This lightweight road picture about a group of inept thieves has an uneven beginning but ends up charming and satisfying.

This fun film is filled with loads of laughs, atmosphere, and nostalgia.

The first and best biker movie.

A tabloid slice of tabloid life, ragged, vivid, awkward and punchy all at once.

Green and his regular cinematographer Tim Orr have a feel for the sad, generic landscape of small-town America, but rather than adding to an overarching melancholy it only reinforces an already drab, at times bizarrely comic tone.

The movie was a misfire despite the presence of many of filmdom's best talents. Diamond's adaptation fails to provide any new wrinkles to the tired plot and Gene Saks's direction is only as good as the material he's been given.

There are some vicious highlights, but the acting is wildly variable, and the film manages to be both overwrought and dull.

A treat for Cronenberg fans, though this could hardly be called a gripping, or emotionally involving, story; you're more likely to need a can of bug spray than a hanky.

This interesting feature is one of the few Hollywood films that takes an honest look at the lives of African-Americans in the ghetto.

There's not a single bad performance here, and director Marshall wisely builds his film on small moments, realized with sympathy and intelligence.

Thoroughly gripping.

The comedy is fairly light and the romance decidedly offbeat.

For all the technical wizardry that went into making the film, Paxton's reflections on the human tragedies of the Titanic and the terrorist attack of Sept. 11th, 2001, which took place while the crew was out at sea, provide one of the film's most haunting moments.

Deville gently reveals that they're all simultaneously hauntingly fragile and amazingly resilient, their smiles as piercing as any resigned gaze.

If your idea of fun involves zombies, monstrous physical transformations and alien slugs bent on world domination, look no further than James Gunn's gleeful homage to all things gross and horrible actually makes good on the "horror comedy" label by being both flat-out creepy and darkly funny.

Relentlessly grim, At Close Range offers a frightening glimpse at the dark side of American life and poses disturbing questions about family ties. Unfortunately, although director James Foley handles the performances with skill, he also indulges in too many flashy directorial pyrotechnics, muting the emotional impact.

Little more than a shaggy-dog tale about two hit men killing time in the picturesque, medieval Belgian city of the title, goosed with crackling dialogue and generous dollops of gore.

Basically, the feeling one gets is that there was so much musical material left from THAT'S ENTERTAINMENT! that they just threw the rest into PART II, and then decided to expand on it with comedy and drama in order to be able to show The Marx Brothers, Greta Garbo, and others.

Lumet develops his story at a leisurely but effective pace, allowing the dynamics of a family in transition--not the sudden appearance of the FBI or an action-paced chase--to give the film its tension. Phoenix delivers a convincing, serious performance, and the rest of the cast, save for the miscast Hirsch, is also strong.

A better rock'n'roll parody than The Rocky Horror Picture Show, and one of director Brian De Palma's more original efforts, Phantom of the Paradise combines elements of The Phantom of the Opera and the Faust legend into a fairly entertaining, but only sporadically successful, horror-musical comedy.

Perceptive, kinetic and entirely believable.

They're frank, funny, resilient and altogether captivating.

Klapisch's use of split screens, fragmented images and nouvelle vague-ish editing would be annoying if it weren't so in keeping with the youthful exuberance his characters haven't quite lost.

This winning mix of exciting action, heart-tugging sentiment, and gentle character comedy makes Bolt yet another solid addition to Disney's history of family-friendly fare.

Grabsky's meticulous and frequently monotonous documentary about the life and music of Wolfgang Amadeus Mozart comes to vivid life whenever one of the many world-class musicians who sat for interviews simultaneously describes and demonstrates exactly what's so special about particular compositions.

Although some of the humor falls flat in this Allen comedy, his satire of revolutions and revolutionaries is perpetually topical.

Getting Irving's characteristic blend of quirky comedy and sorrow just right on screen has always been tricky, and writer-director Tod Williams' best efforts aren't enough to make the mix gel.

What is so remarkable about THE BLOOD OF THE POET is that Cocteau has created a lasting piece of art, a haunting poem, as exciting today as it was in 1930.