It's big and dumb in a smart way.
De Niro takes a loooong, sloooow look at the history of the CIA
Pocket Sandwich Theatre stirs up a boo-ha-ha with It's a Scream!
Wes Craven takes a cue from Hitchcock aboard the Red Eye
Will Clarke has a deal with a New York publisher and a Hollywood studio, and it only took him eight years to become an overnight success
The Dallas Video Festival shows all the news not fit for print
Lone Scherfig yanks our chains with a darkly comic meditation on love and suicide
He has three Oscars, co-wrote Bonnie and Clyde and Paul Newman digs him. So why don't you know Dallas-born filmmaker Robert Benton?
In The Dancer Upstairs, Bardem is the quiet amid the violence
Troma's Lloyd Kaufman has guts, all over the floor
Jim Kirk didn't die. Bill Shatner just got scared to death.
Peter Bogdanovich wasn't dead. He was just acting like it.
Once more, a man calls upon the troops to save The Alamo, before it's gone forever
Marvel's mutants are a modest squad of dullards in this frustrating adaptation
Sequel-itis infects Cruise's M:I-2, but not fatally
Alien + Raiders of the Lost Ark - interesting = Pitch Black
The Mystery of Irma Vep vamps the vampire-movie genre splendidly
Or: How the Internet could kill the album
If Blackie Sherrod's just another writer, then Wilt Chamberlain was just another center
Isaac retells an Old Testament tale as a family coming to terms with its dysfunctionality
The 12th Annual Dallas Video Festival offers all of the flavor with none of the fat of heavy TV consumption
February 25 - March 3, 1999
Using Detailed instructions left by Orson Welles, top film editor Walter Murch has remade "The Best b-Movie ever" -- Welles' Touch of Evil
Travolta and Cage reveal Face/Off is more than skin-deep
Sydney Pollack does -- and his reliable, sturdy movies earn him this year's Great Director Award
The films of Great Director honoree Paul Schrader mix art-house intelligence with B-movie grit