Sprinkled comments provide enough intellectual provocation to begin debate, but the main course is Koko's wide-ranging behavior.

An enlightening look back at how "the world's sport" briefly took off in the US.

Watching The War Tapes is a bit like sifting though puzzle pieces and studying the images, but it's possible to make at least some of those pieces fit.

The cut-rate production resulted in what Reeve termed "catastrophe" for a film intended to marry a serious message to the series' signature action, humor, and romance.

By its very nature, the resulting film is severely compromised, but still rip-roaring, unpretentious entertainment.

Reeve continues his traditions of graceful flying moves, confident carriage, and twinkly warmth. Sadly, none of it is enough to save Superman III from being at home only in a junkyard.

Donner keeps his film briskly funny and exciting, with smart and spectacular action....The greatest effect of all, however, is Reeve's miraculous performance.

A photo essay with moving pictures: anthropological snapshots of seven Salvadoran and Guatemalan skaters...[also] may be [Larry Clark's] most immature film.

The outlandish gags are usually good for at least a chuckle, and Colbert's left-field satire classes up the enterprise, but multiplying the tight sitcom half-hour by four may not be a science experiment worth repeating.

Even at under an hour, this children's fantasy is sluggishly paced by today's standards...but it does have its charms and a relevant social message at its core.

[The] uniquely Eastern European brand of absurdity recalls the work of Vaclav Havel, playwright and former President of Czechoslovakia. At least, it would be absurd if it weren't so credible.

Paine amasses evidence--including dissenting voices--that's consistently illuminating.

Pleasantly fluffy but depthless...each story develops a worst-case scenario that proceeds to a too-comforting, too-swift resolution.

If it rarely becomes more than a conventional Hollywood movie with conventional conflicts, at least it remembers to amuse, and has a force of nature in Streep.

By Columbo's fifth season, the character was firmly established....every detail contributed delicious eccentricity to a character as unpredictable to criminals as the proverbial curious cat.

The writers deserve credit for continuing to whip up entertaining iterations on the Monk formula.

The Lake House is made of glass, but the view straight through it is rather pleasant all the same.

May prove to be the feel-good movie of the year...the only problem is that we can't enjoy the live performances in their entirety.

You know, I don't remember the fart and pee jokes in The Wizard of Oz or the old Disney classics or the Muppet movies. Crotch-biting, of course, comes from a long tradition. Hmm.

A bit like staring at a beauty queen's phonily tight smile for ninety minutes.

Josh Gilbert's smoothly produced documentary a/k/a Tommy Chong should leave even Nancy Reagan aghast at the unfair trials of comedian Tommy Chong.

Cipriano and...Cuesta (L.I.E.) show realism, tender regard, and the benefit of the doubt for their young characters, but little of the same to their childish parents.

Haneke's exploration of willful ignorance, guilt, and history takes hold, and doesn't quite let go when the lights come up.

A nutty, fictional ode-elegy to a show that's still going strong, A Prairie Home Companion offers a unique hybrid of a folksy American showman and an improvisatory impresario.

a fresh bid for indie-thriller cred....[but] watching Gamazon and Dela Llana charge through their limitations is a bit like watching a sprinter run in clogs.

Even if Cars isn't the studio's champion outing, Pixar continues to run on all cylinders.

If you've never seen The Omen, the technically well-made remake is an effective chiller a cut above today's standard, but if you have, there's no reason to watch this rote replay.

As usual, Antonioni's pace is langorous, but The Passenger is never less than compelling.

[An] inspirational tale, which values team spirit even as it celebrates the will of two talented individuals.

Miraculously fresh after seven seasons on the air, Frasier continued to spin complicated farcical situations and....expertly brought the Daphne-Niles relationship to a boil.

At least one draft short of brilliance....[but] more palatable than the typical romantic comedy, thanks in large part to Vaughn's engaging duets with the ensemble.

Definitely propaganda on an issue that remains divisive....[but] Even if Gore is wrong, and I'm not saying he is, his proposed solutions are common-sensibly sound.

The 'free spirited innocent' archetype doesn't convincingly share residence with this numbly sexual Lolita.

[Not] very amusing--its stabs at humor are low-key to a fault, and too sporadic--but it is mostly truthful about yuppie love, and that's something.

Arguably, the more satisfying elements of the series were its miniaturized sitcom elements, which in their way did The Bob Newhart Show one better in their low-key, true-to-life ramblings.

Cave uses the taming of Australia as the backdrop for a nasty, dirty western about the implications of violence.

Served up a solid-gold sitcom character in Silvers' conniving Master Sergeant Ernest G. Bilko.

Amateur Hour-and-a-Half....It isn't fit for human consumption.

The alpha sitcom of the fifties and forever more, I Love Lucy went out, without ceremony, at the top of the ratings heap.

Fatally short on laughs. The jokes are mostly bad vaudeville, as when Piven asks, "How much for 50 Cent? Okay, how about 17 Cent?"

The voice work and animation are both a cut above the average, and the film's energy is brisk.

It's bad news when a Bruckheimer movie makes one downright nostalgic for The Rock...

Late Spring exemplifies Ozu's rich, mature style, an apparent stylelessness of patient, lifelike rhythms, unobtrusive camerawork, and credibly subtle performances.

Wenders bops around Tokyo with the assurance of a skilled filmmaker, and emerges with an understated but certainly curious sociological postcard of '80s Tokyo.

The sixth season proved there was still life in the now-classic sitcom...[and] Knotts shows up in an Emmy-winning return appearance.

[The] soft-glowing facade always seems more real to Ivory than harsh reality...represent[s] our own attempts to stave off reality with the romantic projections of cinema.