Urzua's unsentimental story of shattered idealism is specific to Cuba, but anyone whose path to adulthood was paved with disillusionment, -- whether they were betrayed by faith, family or institutions – will understand her melancholy nostalgia.

It's funny when it shouldn't be, sentimental to a fault and has one of the goriest scenes ever shot.

Most of Cassavetes's cinema verite films as a director are invariably accused (and with some justification) of being rambling, self-indulgent, and unfocused, but it is precisely those elements that make his best work so affecting and memorable, and Husbands, though deeply flawed, is one of the finest examples of that.

Tommy Lee Jones is superb in the title role, but writer-director Ron Shelton unwisely chose to structure the film as a two-character piece, thus placing undue attention on the lackluster character of Cobb's biographer, Al Stump.

Seething with suggestions of perverse pleasures and inchoate horror, this dark fairy tale won't win the Pennsylvania-born, London-based Quay brothers any new fans -- it plays to the converted, and the converted know who they are.

Hoping to titillate, while keeping a PG rating, the film opts for tantalizing talk and a constant display of bra-busting females in stiletto heels. The acting here is respectable, but doesn't rise beyond the indifferent script and direction.

First musical to win Academy Award reeks of mothballs, but is undeniably the basis of perhaps a hundred others. At least there's an old curiosity shoppe charm and a few classic tunes.

The end result is the very definition of a summer movie: breezy, undemanding and a carefully balanced blend of the familiar and the not-quite-what-you-expected.

This loving parody is steeped in comic book trivia and lore: The more you know, the more heartfelt your response to the film is likely to be.

Markowitz 's low key coming of age/coming out story isn't particularly original, but features subtle performances and a vivid sense of place.

A sluggishly directed look at life and death in the 21st century.

The whole thing is played for laughs, with a pseudohip sense of humor satirizing everything from suburban punks to the military, while delivering a few legitimate chills.

Baer asks all the right questions.

A good opportunity to catch some marvelous acting.

Ostensibly about artificial life forms, each of these four short, expertly crafted stories offers a poignant perspective on what it means to be human.

Delicatessen is an ingeniously funny film with a surprisingly sweet romance at its center.

Director Alan Rudolph and producer Robert Altman combine forces to create a quiet, intelligent film about Dorothy Parker.

Meredith's narrative helped to keep the proceedings together but could not circumvent Rydell's ordinary direction and the silly script. McQueen could do a lot of things well, but comedy wasn't his forte.

Potent and simmering if sometimes a little overstated, THE CHOSEN manages to elicit a tolerable and appropriate performance from the generally emetic Benson.

Bluth, a former Disney animator, understands that the greatest Disney films take us on an emotional journey in which all our hopes and fears are played out in a vivid fantasy world where anything can happen. The Land Before Time continues that great tradition.

A thriller featuring a mysterious femme fatale, an involving plot, and some nice offbeat twists, Sea of Love owes a good deal to Hitchcock, and to such recent efforts as Fatal Attraction and Jagged Edge, though it can claim plenty of originality as well.

Filled with some of the most powerful poetry and shattering images ever to come out of warfare.

Matheson's bitterly ironic ending -- which pivots on the nature of Neville's legend -- is gutted and turned into formulaic pap.

The film delivers what it promises: A look at the "wild ride" that ensues when brash young men set out to conquer the online world with laptops, cell phones and sketchy business plans.

Grownups who grew up on The Jetsons and children who, like the movie's heroes, aren't yet nine years old, should enjoy this film.

While sometimes evocative, they don't add up to a satisfying movie any more than, as several characters are cautioned, coffee and cigarettes constitute a healthy lunch.

The sad fact is that this comprehensive and compassionate documentary about the hottest of the "hot-button" topics - gay marriage - probably won't change one's mind

The whole thing, script, acting, and especially Penn's heavy-handed direction, is bizarre. Yet there's a perverse joy in watching Brando and Nicholson try to compete with each other in mugging, switching accents, and mannerisms that could only be found elsewhere in institutions like the Bellevue Insane Asylum.