What a film! The action is incomparable, the chase sequence has never been duplicated, and Freidkin's direction deserved wide praise. Gene Hackman is amazing, and anyone with a penchant for crime drama should own this superb film. Hackman never ceases to surprise, and Scheider makes a terrific supporting character. Want to see geniuses at work? Own this one of a kind classic!

If you're like me, and sometimes still reeling from the devastation of September 11th, you'd do well to resvist this poignant tale of true undying love and unconditional peace of mind. Begnini's masterpiece is surely one of the finest films in any language to have the Holocaust as a backdrop, and here, as real and intense as that era exists onscreen, it takes a back seat (if thats even possible) to the extrovert genius of Roberto Benigni, who is part Buster Keaton, part Willy WOnka and ALL John Wayne. His heroism in the most hostile of human tragedies makes this a film about war's human toll - for in his characterization, Benigni is our heart and soul, the conscience of the world, for he balances humor with terror and shows us that sometimes, laughter is the ONLY medicine. A deserved classic to be enjoyed for generations of families around the world, "Life is Beautiful" is a fable for our times, and a source of pure imagination and inspiration.

I still cackle every time I watch "Wanda" with its screwball story, its zany characters and its funny one-liners that get me every time. The ensemble cast is tremendous, with Kevin Kline in his all time film role (and OScar winner) as Otto, while Jamie Lee Curtis proves her own comedic mettle in her scene-chewing moments with Cleese and Palin. The dialogue is simply hysterical, and still likeable, which I think is truly rare in a film. Without all that much gimmickry, the cast and plot work without a hitch (or rather, with so many hitches, your head'll be swimming with possibilities!) But certain scenes are standouts - the dropping pianos, the language fetishes, and especially the interplay between Kline and Palin, who lash out at each other in unpredictable, pure comedy heaven moments! You're guaranteed to love this "Wanda-r" - she's something else!

Billy Crystal returns to form with the help of De Niro, in possibly his greatest comedic role as a Mafioso needing psychological intervention. The script is fast and furious, a laugh riot of memorable lines and deliveries that come atcha like repeated pitches of a baseball. The scene where Crystal represents his client before all the Mafia leaders is a comedy classic, one that is hilarious and poignant at once, but only because Crystal plays his character in such an inspired way. Truly a valentine of comedy, this is a keeper!

In a word - magnificent. A towering accomplishment rarely visualized before or since, and easily one of the best films of all time. There are insufficent adjectives to apply to Bogart in the role of Rick, and even fewer ways to describe the incandescent, glowing Ingrid Bergman, in what is perhaps her signature performance. A centerpiece to any DVD collection, "Casablanca" still moves its audience to tears and anger, but ultimately, its a love story of unparalleled heart. A masterpiece.

Jeremy Irons and Dominique Swain stand out in this re-telling of the classic puberty-meets-adulthood tale. The subject matter alone keeps plenty of folks from experiencing the depth of emotion and honesty these characters display, or the core resounding themes of forgiveness, beauty and the spiritual levels of sex so many people would rather do without. Suffice it to say, it's an exploration of an intimate, delicate matter - yet one that would not have seemed so out of place just a few generations ago..that of an older man longing for a child-becoming-a-woman. Swain's grace is a perceptive trait she's given to the character, lending her weight and value rather than just being a source of scorn or pitty. Far from it, Swain makes Lolita likeable, an adult feeling child for whom sitting on an older man's lap retains its innocence and charm, while at the same time evokes new, unexpected feelings and sensualities that complicate matters...Uncynical, fresh and perceptive, this Lolita is a joyous bittersweet tale of redemption and loss, with startling performances from the two leads.

Inspired beyond words, "Young Frankenstein" ranks with "Blazzing Saddles" and "The Producers" as Mel Brooks' finest contributions to film. And, we must be grateful for his mettle, his moxie and unparalleled genius as he romps his way through the classic Monster tale of all time. Marty Feldman is indelible and unforgettable as Igor, the irreplaceable Madeline Kahn won an Oscar Nomination, and the film served as comedic landmarks for the lieks of Terri Garr ( Tootsie) and the legendary Gene Hackman. Some scenes are side-splittingly funny, and others lighthearted and tender in the way only Brooks and Wilder could possibly pull off. In fact, Wilder deserves a lot of praise as Mel Brooks' "everyman" though he can sometimes play the role so straight, he loses himself to the kooks all around him. "YOung Frankenstien" is perhaps his best Brooks character if for no other reason than he is equally looped out and bizarre, part Willy Wonka, part nerdy gunslinger. He's hilarious and gentle here, in a movie that will tug your heart even while you're coughing it up laughing!!!

I agree that this is one of Spielberg and Kubrick's more original and thought provoking films. Both directors are genius when it comes to etching memorable one-of-a-kind characters who represent the audience's psyches at one and the same time. The robotic boy here is chillingly played by Osment, who is brilliant in a role far more complex and varied than his Oscar nominated turn in "The Sixth Sense." In Haley Joel, the director finds his muse, and allows the film's bizarre triangle narrative take its course. We see the film in part through the child's eye, one of Speilberg's specialities, and like "Empire of the Sun" (one of the director's true masterpieces) we are enveloped in his cravings. Osment makes the character even more human than his truly human counterpart, and his scenes with his mother are gripping. They can haunt even the hardest soul among us but only because Osment is at the top of his game here. Any other young actor might have given into the temptation to camp this part up, but like Christian Bale in "Empire" Osment uses his eerie man-child gaze and facial affectations to convey all the tenderness and unmitigated desire that makes a child's energy so special. There are harrowing moments in AI where I had to look away (most likely Kubrick's main plot) but these too add to the plot and move the story along. Perhaps even more chilling than Osment's singular standout performance is the film's final vision, of an underwater New York City, post-September 11th, but also intact, swallowed by an ocean. The whole film is a testament to the power of the medium - it rises up and grabs us, forces us to contemplate real recurring themes (here - lost innocence, freedom, and the obvious mother-son dynamic) and never lets go. To be sure, at times, the movie plods and pokes along - a minstrel show of horrors that are painful to witness but essential to the vision. Give AI a rent at least and let yourself go with it....it will NOT relax you, but instead transport you somewhere far far away. See it for Osment, who deserves Oscar notice, but is unlikely to get it (a shame, for he's stunning here!)

"Gandhi" stands as Richard Attenborough's signature film, a sweeping epic biography of the spiritual giant among men who was Mohatma Gandhi. The film rates 5 stars for all of its cinematic accomplishments, from its stunning cinematography to its colorful palette of costumes, set design and lighting. The film is Oscar worthy, especially Ben Kinglsey's starling transformation as the peace loving hero.

And yet, unlike other testimonials to our other heros and idols, spiritual or otherwise, the film is overly long - at least 30 minutes too long - and will challenge the most committed viewer unless they're trapped in a theater or theater class! Some sequences feel they go on forever, and unnecessarily at that, as time and space interweave with the tale of the Man himself, his humanity, humility, and far-from-humble beginnings. It's a towering film to be sure, but in a soft, unmagnetic way that never shows it's pure unadulterated SOUL. Instead of looking INTO the leader's heart, "Gandhi" looks AT it; instead of bringing us closer to his ultimate message and tactical wisdom, he becomes a caricature a victim of his time and place. Though Kingsley effectively combats the script to ensure his character's humanity comes through, it's a tiresome battle, and I still find the film too dull and flat to recommend as a Must Own. To be sure, if you ARE in the mood for a Global Peace Epic - this is what the doctor ordered.

I was lucky to see the original production on Broadway, with both Swoozie Kutz and Christopher Reeve (and again later with Richard Thomas. Trust me, you'll forget "Sisters" "Superman" and "The Waltons" ever existed when you experience these tremendous talents literally oozing character out of their pores. Reeve's performance was for the ages, and not represented here, but Lanford Wilson is a contemporary genius of playwriting, and "A Fifth of July" shows you why. His staging is precise without being too studied, and his language soars in accessible ways that any audience will appreciate. With undercurrents of pathos and sublime sexuality, the play succeeds by burrowing under the audience's skin. It's easy to imagine yourself with THIS particular family, in these particular circumstances, even if it IS the early 80's...the beginning of the ME decade. Deep, powerful, funny and humane Wilson's landmark of a play still stands the test of time. Enjoy it and love it!