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For anyone who loves sharp dialogue, compelling characters, and a stinging social rebuke, Glengarry Glen Ross is not to be missed.

Mamet reveals his exceptional talent for writing almost poetic working-class vernacular, scores his major implicit thematic thrusts against the nature of the way business-at-large is conducted.

Places in the Heart is a loving, reflective homage to his hometown by writer-director Robert Benton.

Much is unemphatic, but all of it carries the moving weight of conviction. And it ends on a healing grace-note which passeth all understanding.

Midway through, Rapp loses momentum, failing to hone in on just what kind of movie he wants to make, and Winter Passing languishes in that no-man's land between tiny, meandering, indie drama and plotted, pointed family melodrama.

This flawed drama about a self-destructive young actress and her reclusive novelist father has its rewards, mainly in some good performances.

A great example of that time-honoured genre, the biopic so silly it plays like a spoof.

A fatuous, bafflingly imagined tale of the unhappy and unwell Beethoven and his ordeal in preparing the Ninth Symphony for its premiere.

More than a straightforward biography charting Jackson Pollock's rise to prominence, Ed Harris' film is a penetrating study of the work ethic as it applied to one of America's great post-war painters.

Harris as an actor does justice to his long-term passion to play Pollock.

At its heart lies a sweet romance, with good performances from both the leads and an Oscar nomination for supporting actress Lahti.

Swing Shift tries ... to twist some consequence out of a tawdry adulterous tryst by a couple of self-centered sneaks. But the writing and acting are too flat for the challenge.