Both Buck and Buck endorse sensitive care for the voiceless, whether they be horses or cowed children.

Jazzy and daring...takes Raymond Queneau's novel—the sort generally considered 'unfilmable' and makes a film so cinematic as to appear sui generis.

Though written and directed by a Pulitzer Prize winner, Original Sin is better known as the picture in which a naked Angelina Jolie (by then a certified Oscar winner) and Antonio Banderas do the horizontal mambo.

Though People on Sunday regards people lazing about, its legacy is that of filmmakers proving their industriousness.

Hill's lean, mean approach never had a more appealing texture than it does here...

Has the consistency of an individually wrapped slice of Velveeta.

Loses some power by letting the central debate fizzle out...but rallies in the end with an eloquent post-climactic testament by Christian, an attempt to respond rationally to the irrational.

Hair benefited from the creative freedom of '70s cinema...at its best when it's most creatively subversive...

Ultimately a very personal film about how Scorsese views a genre of film and, as such, has a much more coherent vision than its reputation would suggest.

The latest workmanlike entry in what must be regarded as an unprecedented film series has plenty of flaws, but also the franchise's reliable draws.

Emerson said, 'A foolish consistency is the hobgoblin of little minds,' but in this franchise--where you’re likely to spot a hobgoblin or two--the consistency isn’t foolish but miraculous.

Features the leading light of popular music today, Elvis Costello, as host and regular perfomer.

Reflects Roeg's views of the absurdity of American history and our compulsion to destroy beauty.

Well acted by a strong ensemble, The Makioka Sisters quietly, steadily (and almost imperceptibly as it happens) endears us to these women, investing us in their varied fates.

Detailed and consistently funny observation of small-town sincerity muddling through a dog-eat-dog world.

It's one thing to make a film that's violent and profane; it's another to make one that's a moral black hole, and to do it because black looks cool.

Reunites the delectable pair of Steve Coogan and Rob Brydon, real-life actor-comic friends who play versions of themselves to highly amusing and oddly wistful effect.

Cuts the whimsy with melancholy...its case of the cutes isn’t terminal.

Turner's character of Mitchell, a century-old vampire, gets a go-for-broke story arc that sends him off in a satisfying way.

Deconstructs Hollywood's cowboy myth with a mythic Hollywood cast: Clark Gable, Marilyn Monroe, and Montgomery Clift.

Proves you can spell funeral without 'fun.'

A not-bad thriller starring Liam Neeson. If that sounds like faint praise, it is, but at least this overgrown 'B'-movie tickles the brain just a tad...

Neuron-rotting brain candy: an empty action exercise made up of empty calories. That'd be fine, if only it were sweet.

Throbs with a simple truthfulness...Loach shows his complimentary interest in documentary-influenced social realism and the improvisational search for the authentic.

Let's be honest: the b.s. sci-fi plot is so much empty machinery, which becomes steadily more apparent as the film wends its way toward a heavy-metal climax that's narratively and emotionally questionable.

It's all here: the famous Bill Conti fanfare, the 'Gonna Fly Now' training montage, the inevitable 'David and Goliath' climax.

The preeminent comedy of anima...effervescent and breezily paced, from the car-chase opening to the big finish capped with one of the all-time-great punchlines.

Has the distinction of including not one, but two of the greatest screen performances of all time...undeniably one of the most gut-churning emotional experiences of 1990s cinema...

This most unusual dramedy of errors is one of the most riveting hours on television...Breaking Bad continues to shock and delight.

Remains an intriguing blend of the political and the personal, with Stone turning his memories and his opinions about Vietnam into potent drama.

Kipling's exhilarating and disconcerting tale of high adventure...

The weakness of the film is in its blandness of character and obviousness of storytelling: it’s all kept storybook simple...

Compelling from start to finish...with heartfelt speeches and dialogues that disturb hidden depths and allow the truth to rise to the surface.

The cosmic equivalent of hearing a Homeric epic in ancient times: we thrill to the battles, we wait with bated breath for the appearance of our favorite characters, and we root for noble, righteous warriors.

And thus the old joke has finally been fulfilled of someone pitching Romeo and Juliet to Hollywood and hearing in response, 'Couldn't they live at the end? I mean, it's kind of a downer.'

While it's fair to call The Usual Suspects a gimmick in search of a movie, one could say something similar of, say, an Agatha Christie mystery.

No creative inspiration gets in the way of the beautiful people running and jumping and kissing while things go boom in the forgettable teen sci-fi actioner I Am Number Four.

The TV-bred Wells...has written and directed The Company Men without ever coloring outside the lines: it’s all a bit too neat and obvious and predictable.

Adam Sandler movies are for everyone! Unless you’re ugly, uncool, old, fat, gay, non-white or, heaven help you, all of the above.

Though the story is pat...there's pleasure to be had in the memorable one-liners, the irreverent humor...and the Western action against the backdrop of frontier scenery.

Succumbs to turgidity. And...intentionally or not...conveys the impression that the film uncritically celebrates the Confederacy.

Gettysburg wins the day by giving a detailed account of the three-day battle (for the first time in a feature film), shot on the actual locations where the events took place.

Yes, the driving scenes dazzle, but Frankenheimer also embeds his 1966 Cinerama epic with some interesting commentary about risk-taking professions in general and the Formula One driver in particular.

Carion's film admirably resists overselling the material: it's an adult espionage film, with no comic-book theatrics.

The ostensible genre elements that seem to pitch The Double Hour somewhere between crime film and ghost story begin to look like the stuff of an allegory about modern relationships and the fright of commitment.

Agreeable enough fare for families craving a little action, comedy, and action-comedy.

Functions better as an emotional drama than a history lesson...remains an important and, at times, profounding moving film.

Like its defector hero, Mao’s Last Dancer is neither here nor there...determinedly dull, even in the flatly filmed ballet sequences.

A cyberpunk picture that flirts with emotional resonance but mostly focuses on the gut...testosterone-fueled, estrogen-boosted action melodrama.

An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.