An early comedic effort from one of today's greatest physical comedians, Half a Loaf of Kung Fu is a parody of many of the melodramatic kung fu movies that were coming out of Hong Kong in the 1970s. The credit sequence sets up the tone as Chan performs a dream sequence full of tongue-in-cheek kung fu moves and visual puns. (Chan's ninja is revealed to be a beggar, his priest chews out a group of monks only to then have to do chores himself, and there's even a reference to Jesus Christ Superstar!) Chan plays Jiang, a hapless orphan who is amiable enough but always getting into trouble. In dreams he is a skilled fighter (with the help of eating spinach à la Popeye), but in reality he's sort of a dope. A kind beggar and an opportunistic traveler with a bad case of gas teach him skills that bring him into the employment of the Sern Chuan Bodyguards, who are protecting a priceless gemstone-the Evergreen Jade. A band of robbers attempts a heist and Jiang and his flatulent friend defeat the crooks in comic style. Originally shelved in 1978 by director Chan Chi Wa (who directed Chan in Snake and Crane Arts of Shaolin), Half a Loaf of Kung Fu was released in 1980 after Chan's popularity rose. -Shannon Gee.

Too much surface. Director Lee (The Edge) Tomahori's noir story serves as a McGuffin to its ripe style. Amid secret agendas and unspeakable acts onscreen you stare at the fall of light across old cops' desks. Musing on super-8 footage of naked Jennifer Connelly, your mind wanders. Ah, yes, an allusion to the opening shots of Chinatown. Roman Polanski's grand reinvocation of the dark intuitions of 1940s noir is there, too, in the sumptuous look, the plump list of stars (Nick Nolte, Michael Madsen, Melanie Griffith, John Malkovich), and the swoony, bittersweet soundtrack. The zigzags of the story that bring together two cheating husbands, one pneumatic babe, and (somehow) homosexuality waywardly recall The Big Sleep. The Atomic Energy Commission subplot feels like an homage to Kiss Me Deadly. With so many other movies to please, by the middle of the film it's clear that the story isn't going to thicken, that for all the amperage in Nolte's performance, for all the male rage in Michael Madsen and Chazz Palminteri, the hints of sexual malfeasance aren't going much past Nolte's domestic guilt about his affair with Connelly. And yet there are rich things. [+]

Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. -Tom Keogh.

No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naiveté combine to create one of the great screen romances and a refined slice of high society bohemian chic. -Sean Axmaker.

A prime candidate for cult status (it even spawned a sequel), this apocalyptic 1995 horror flick belongs in the darker corners of the comedy-horror sub-genre that includes Buffy the Vampire Slayer, Mimic, and Phantoms-and like those movies it's a mixed blessing with some highlights worth savoring. This one's got Christopher Walken in its favor, starring as the Angel Gabriel, who's really mad at God for allowing humans into heaven (because, you see, humans have souls and angels don't, and God plays favorites). Gabriel takes his anger out on the human race, coming to Earth to capture the soul of the most evil human alive in an effort to defeat the "good" angels that remain in God's good graces. One of the good angels is played by Eric Stoltz, who captures the evil soul before Walken does and transfers it into the body of a little girl. Are you with us so far? Don't worry if you're not, because writer-director Gregory Widen filled The Prophecy with so many wild ideas that he didn't bother to connect them to a coherent plot. Add Viggo Mortensen as the devil and Elias Koteas as a priest-turned detective who's tracking Walken and it's clear that Widen was attempting something ambitious here. He nearly succeeded, since The Prophecy jumpstarts its heaven-and-hell rivalry with enough action, humor, and intelligence to make the movie sufficiently entertaining. It was enjoyable enough to entice Walken back for the sequel, so if you're into this kind of thing, this one's a keeper. -Jeff Shannon.

This town drama from Ted Demme centers on former classmates coming together for their 10-year reunion. Scott Rosenberg's (Things to Do in Denver When You're Dead) script thoughtfully passes over the usual grumblings of young adults who can't believe they still live in the same snowbound town. They accept-even welcome-their blue-collar jobs, whether plowing snow or cutting hair. Willie (Timothy Hutton), the lone wanderer, returns to his listless house in a state of flux, the piano-bar circuit wearing thin as is his relationship with Tracy, a well-off attorney (Annabeth Gish). He isn't the only one with problems. Tommy (Matt Dillon) occasionally sleeps with his now-married high school sweetheart Darian (Lauren Holly) while the earnest Sharon (Mira Sorvino) is left to wait. Paul (another thickheaded role for Michael Rapaport) refuses to commit to Jan (Martha Plimpton) until it's too late. Paul is enamored with the idea of the supermodel (the title's "beautiful girls") that, he believes, can make life perfect. It's a very satisfying comedy, with some forced poignancy (Willie's description of Tracy as a "seven and a half" comes off as a death sentence). Rosie O'Donnell's dissertation on why Playboy and Penthouse have ruined males' expectations is much like Meg Ryan's orgasm scene in When Harry Met Sally. [+]

In this ultra-hip, multilayered comedy, triangles and emotional imbroglios take on a new meaning. Well, at least they try. Jennifer Aniston plays a straight woman who falls in love with a gay man (Paul Rudd). She invites him to move in with her just hours after they meet. As their friendship progresses, she learns she is pregnant, and wants Rudd to act as daddy to her newborn, much to the consternation of her overbearing boyfriend (John Pankow). The film takes itself too seriously, although there is some genuine emotion buried in Wendy Wasserstein's clunky script. It is not that the relationships are unbelievable; it is that the story lurches forward from one stilted setup to another. And unfortunately, characters are motivated by unknown forces to take on major life changes without explanation. More fortunate are two very likable performances by Rudd, who wisely plays this without cute, homosexual tics, and a most perky and appealing Aniston. Supporting actor Nigel Hawthorne walks away with the film as a gay drama critic who imparts a few important life lessons as he learns one of his own. [+]