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Director Wolfgang Peterson nearly spoils a splendid epic, tacking a cornball climax on to a riveting tale. Fortunately we have that rarity of rarities, a strong script. And a cast that kills. Brad Pitt proves, as he did in "Seven" and "Sleepers" that he's no mere pretty boy. His nuanced portrayal of Achilles in "Troy" is a powerhouse turn. Eric Bana (Hector), Brian Cox (Agammemnon) and Brendan Gleeson (Minelaus) give strong support. As well, Sean Bean breaks type, rendering a measured, thoughtful Odysseus. Peter O'Toole is magnificent as Priam. Had Peterson reigned in the schmaltz and stuck to the hard, driving economy that fuels this sprawling saga, "Troy" would rate 11 on a scale of 1 to 10. Even so, it is a do not miss film.

Ron Perlman has long been an undersung master of the craft, starting with his big-time debut Quest for Fire. Unfortunately, he's been saddled more than his fir share of lemons (ie Alient: Ressurrection, Blade II). As the sardonic protagonist Hell Boy -- a baby demon raised as a human -- Perlman puts his portrayal over the top with a world of skilled understatement. And John Hurt (Midnight Express, Alien) is in fine form as the supporting lead. Director Guillermo del Toro has razor sharp instincts for both action and pathos. The problem is that horror/sci-fi/supernatural/fantasy is seldom appreciated as a legitimate genre. Hence, this film wasn't nearly as big a hit as it should have been in theaters. It is, nonetheless, a reasonably well scripted tour de force showcase for Ron Perlman, who deserves such an opportunity if anyone does.

A slick romanticizing of the sexual exploitation of NewOrleans black women by white men of power and privilege. Ooh. Does that whet your appetite? Well, then, belly up to a VHS or DVD and gorge on this gratuitous trolling through a seamy segment of history. For good measure, it's adapted from the book by celebrated hack Anne Rice. The directing is as cloying and melodramatic as the cheesy dialog. Most of acting is amateurish. The production's sole worthwhile note is that it employed practically a dozen black actors, all of whom have scarcely been in employed in today's market (Jasmine Guy, Ben Vereen, Pam Grier, Eartha Kitt), including some faces that have barely been seen at all (Bianca Lawson, Rachel Cuttrell). It also is, despite itself, a sterling showcase for Nicole Lyn. The pompous and ponderous James Earl Jones is on-hand as well. So, is the late Ossie Davis, a minimal talent who owes his success to having been affiliated with the legendary Negro Ensemble Company. This film should be rated "T" for tripe.

After more than 40 years, still stands a benchmark for westerns. You have to talk "The Long Riders" or "Wild Bill" to come up with anything in the last 20 or so years that even compares. In fact, it's one of the few John Wayne films that are watchable in this day and age. Tight, ironic script. Marvelous acting by James Stewart, Vera Miles and a host of enormously talented character actors. Lee

Van Cleef. Strother Martin. Edmund O'Brien. John Carradine. Andy Devine.

And, in a day and age when black actors didn't get much work, a memorable

appearnce by Woody Strode. Highly touted as a classic, actually deserves to be called one.

Joe Penny as, of all things, a bad guy. Who'da thunk this actor, generally type cast as a dashing do-gooder, could be so frightening his shadow would be scared to follow him around. Valerie Landsburg doing something besides comedy. This gifted actor best known for delivering straight lines opposite broad, comical characters, shows strong dramatic chops as the woman who, against her own best judgement has no more self- esteem than to trail along behind a maniac with her two kids in tow. A tight script, not a single wasted word of dialogue. Plot develops and moves along well, keeps you constantly wondering what's gonna happen next. Suspenseful director. TV films don't get much better than this fine offering.

This story about the Mirabal sisters who, in 1960, were murdered for resisting tyranny is a remarkable film. The acting, directing and writing excellent.

Importantly, the cast was not Anglicized. Unlike, say, The Mask of Zorro, which is set in Spain but has Antonio Banderas as the only Hispanic actor in a lead role, this film opts for authenticity from top to bottom. Which serves a sign of respect for the powerful, compelling drama that is rendered.

Absolutely one of the most brilliant film efforts to come along in quite sometime. Directing, script, cast -- all top-notch. Proves you can have exquisite art and exhilirating entertainment at the same time. Right up there with flicks like Seven, Kiss the Girls -- you name the psychological thriller: Identity measures up and then some.

Brilliant adaptation. Sharp directing, acting. Especially Ben Affleck and Colin Farrell who show remarkable range. Don't let the fact that ti comes from a comic book fool you. It's a compelling drama from beginning to end.

Premiere actors Stephen Dorf, Norman Reedus and Matt Dillon show you how it's done in Deuces Wild, a powerful, tragedy of gang-related, white-on-white crime. Dorf performs a role worthy of his mettle as the complex protagonist fighting to keep heroin out of the 'hood. Reedus, in flawless compliment, is evil incarnate as the determined drug-pusher. Dillon is deftly understated as the head thug in charge of them both. When this May 2002 film didn't walk off with an armful of Oscars next year (including best director and best picture), it was clear something was rotten in Denmark.