Marlon Brando's famous "I coulda been a contenda" speech is such a warhorse by now that a lot of people probably feel they've seen this picture already, even if they haven't. And many of those who have seen it may have forgotten how flat-out thrilling it is. For all its great dramatic and cinematic qualities, and its fiery social criticism, Elia Kazan's On the Waterfront is also one of the most gripping melodramas of political corruption and individual heroism ever made in the United States, a five-star gut-grabber. Shot on location around the docks of Hoboken, New Jersey, in the mid-1950s, it tells the fact-based story of a longshoreman (Brando's Terry Malloy) who is blackballed and savagely beaten for informing against the mobsters who have taken over his union and sold it out to the bosses. (Karl Malden has a more conventional stalwart-hero role, as an idealistic priest who nurtures Terry's pangs of conscience. ) Lee J. Cobb, who created the role of Willy Loman in Death of Salesman under Kazan's direction on Broadway, makes a formidable foe as a greedy union leader. -David Chute.

After the critical success of 1993's The Secret Garden, Warner Bros. returned to the novels of Frances Hodgson Burnett to create this 1995 adaptation of A Little Princess, which instantly ranked with The Secret Garden as one of the finest children's films of the 1990s. Neither film was a huge box-office success, but their quality speaks for itself, and A Little Princess has all the ingredients of a timeless classic. A marvel of production design, the film features lavish sets built almost entirely on a studio backlot in Burbank, California. The story opens in New York just before the outbreak of World War I, when young Sara (Liesel Matthews) is enrolled in private boarding school while her father goes off to war. Under the domineering scrutiny of the school's wicked headmistress, Miss Minchen (Eleanor Bron), Sara quickly becomes popular with her schoolmates, but fate intervenes and she soon faces a stern reversal of fortune, resorting to wild flights of fancy to cope with an unexpectedly harsh reality. Rather than label her fanciful tales as escapist fantasy, A Little Princess actively encourages a child's power of imagination-a power that can be used to learn, grow, and adapt to a world that is often cruel and difficult. It's also one of the most visually beautiful films of the '90s and creates a fully detailed world within the boarding school-a place where imagination is vital to survival. A first-class production in every respect, this is one family film that should (if it's not too stuffy to say it) be considered required viewing for parents and kids alike. -Jeff Shannon.

This family drama, based on a novel by Ellyn Bache, is overly familiar in its concentration of cracked secrets and family revelations all pouring down during a brief crisis. But it has a fine cast led by Susan Sarandon, and they make the whole enterprise a watchable affair. Sarandon plays a middle-aged mother of a brood of mostly grown sons. Suffering from empty-nest syndrome, she tends toward anxious dreams in which one or another of the boys is missing overseas. After having a nightmare that one-a Marine assigned to a Sinai peacekeeping force-has been hurt, word comes that a terrorist attack has indeed left his status in question. As the rest of the family gathers in the glare of fear-including Sarandon's estranged husband (Sam Shepard), suffering some form of (metaphorical) blindness-lots of unspoken things are said about old rivalries, ancient grievances, etc. It's all a bit thickly designed, but the likes of Robert Sean Leonard, Sean Astin, Marcia Gay Harden, Nick Stahl, and most of all Sarandon make it entirely palatable. -Tom Keogh.

John Ford's 1948 classic stars John Wayne as a Cavalry officer used to doing things a certain way out West at Fort Apache. Along comes a rigid, new commanding officer (Henry Fonda) who insists that everything on his watch be done by the book, including dealings with local Indians. The results are mixed: greater discipline at the fort, but increased hostilities with the natives. Ford deliberately leaves judgments about the wisdom of these changes ambiguous, but he also allows plenty of room in this wonderful film for the fullness of life among the soldiers and their families-community rituals, new romances-to blossom. Fonda, in an unusual role for him, is stern and formal as the new man in charge; Wayne is heroic as the rebellious second; Victor McLaglen provides comic relief; and Ward Bond is a paragon of sturdy and sentimental masculinity. All of this is set against the magnificent, poetic topography of Monument Valley. This is easily one of the greatest of American films. -Tom Keogh.