Fair Game (1995)
Pitched at a feverish pace, polished action evolves from fanciful to ludicrous, as sharp lawyer Cindy Crawford and glowering cop William Baldwin are on the run from high tech Russians. Without sense of character amid narrative confusion, tension is drained, leaving empty stunts and explosions.
Fair Game (2010)
Political drama retains anger and passion for democratic process while stoic Naomi Watts and fiery Sean Penn bring truth to relationship of real life couple caught up in government lies to launch Iraq War. Thriller elements less certain, yet narrative control remains riveting.
Fairhaven (2012)
Distinct slice of contemporary American life in a coastal Massachusetts town as old friends reunite for a funeral and past and present anxieties surface. Scenes drift without the anchor of a strong narrative, enhancing the easy naturalness of the humor and personal drama.
Fall (2022)
On anniversary of mountaineering husband's death, morose Grace Caroline Currey is persuaded by thrill-seeking best friend Virginia Gardner to climb remote, abandoned 2000-foot tower. Physical intensity and vertiginous visuals sustain giddy momentum even as logic fails and schematic character resolve kicks in.
Der Fall Collini (The Collini Case) (2019)
Solidly constructed, cleanly made, Elyas M'Barek is fledgling defense lawyer uncovering establishment corruption as he investigates unrepentant murderer Franco Nero. Pervading German guilt of wartime cruelty tied to courtroom tensions.
Fallen (2016)
Despite attraction of visuals and cast, narrative interest loses steam as disturbed Addison Timlin finds new boarding school arouses historical flashbacks and love triangle with fallen angels. Overheated with plot yet simultaneously simplified, climactic aerial combat is without drama.
Fallen Angel (1945)
Vivid imagery conjures atmosphere of dread noir, as a stark coastal Californian town offers deceitful Dana Andrews manipulative opportunities with innocent Alice Faye even as he is undone by contrary Linda Darnell. Third Act melodramatic tension finally fizzles.
Fallen Stars (2017)
Full of silences and empty spaces, Michelle Ang and Ryan O'Nan are alienated strangers, lonely even when together, as they walk bleached LA streets. The sedate pace and sparse dialog gradually works its spell and a sure directorial touch delivers a moving conclusion.
Fame (1980)
From energized opening auditions to celebratory climactic graduation concert, lives of High School Of Performing Arts students are realized with cast of emotional, broken dreamers and harsh New York backgrounds. Final plot contrivances overcome by spirited characters and integral, joyous dance and song.
The Family Fang (2015)
Art and life blur in dysfunctional haze as flailing actress Nicole Kidman and blocked novelist Jason Bateman return to controlling parents and humiliating conceptual artists Christopher Walken and Maryann Plunkett. Committed performances cloud dour palette and emotional artifice.
Family Plot (1976)
Without the distinctive visual mastery, a strangely anonymous and woolly Hitchcock, reliant on individual performances and occasional set pieces. Some genuine laughs, an energetic music score and a playful twist maintain interest.
The Fan (1949)
Leaning more to melodrama than witty elegance of Oscar Wilde's Lady Windermere theatrics, melancholy realist Madeleine Carroll recalls pre-war London society and relationship with young wife Jeanne Crain. Solid cast includes George Sanders, though telling remains dry.
Fan chan (My Girl) (2003)
Suffused with generous, nostalgic view of 1980s childhood in small Thai town, elegantly unobtrusive visuals allow young cast to shine with broad comedy, eccentricities and closely detailed emotion. Rueful adult memories allow for thematically pleasing end.
Fanny By Gaslight (1944)
Polished and evocative production values are the wrapping for a ripe melodrama that explores issues of class divide as well as sexual brutality and family guilt. Told with relative restraint and hugely enjoyable.
Fantasy Island (2020)
Guests flown to suspicious Michael Peña's idyllic resort find dreams rapidly transform to nightmares, with conflicted Maggie Q and eager Lucy Hale among sketchy characters lost in the confusion. Bland, glossy visuals prove unable to unite ironic and thriller twists.
The Far Country (1954)
Crafted with rugged sense of place and character against dangerously epic backdrop of Canadian Rockies, jaded James Stewart finally faces corrupt John McIntire during wilds of the Gold Rush. Designing Ruth Romain provides dark temptation. Thematically exciting and supremely entertaining.
Fatal Conflict (2000)
Cobbled together with little sense of story or more than flimsiest attempt at character, a bizarre mix of low-budget exploitation tropes that never has the courage to either follow through on lurid promise or elevate genre with imagination. Sci-fi nonsense.
Fear (1990)
Underwhelming blend of psychic mystery and serial killer thriller with jittery Ally Sheedy helping police by telepathically tapping into mind of murderers - until she finds one invading her own thoughts. Story potential undeveloped and flat visuals, though Henry Mancini score provides edge.
Femme Fatale (2002)
A feverish dream crammed with Brian DePalma's typical visual flourishes that soon jettisons story to luxuriate in unrepentant, glorious images and elongated thriller set pieces. Continually on the verge of self-parody, a narrative twist ratchets the delirium with a cinematic swoon.
Ferris Bueller's Day Off (1986)
Energized by Matthew Broderick's considerable and mischievous charm, a celebration of Chicago and playing truant, with a wickedly appealing cast delivering on seductively humorous script. Slickly produced teen fantasies even manage to sell the sentimental wrap.
A Few Good Men (1990)
Assured courtroom drama, crisply shot and paced, with principled Demi More reluctantly working with dismissive Tom Cruise on military trial to defend marines accused of murder on lordly Jack Nicholson's Cuban base. Themes of loyalty and power delivered within expertly honed package.
Le fidèle (Racer And The Jailbird) (2017)
For an hour, a stylish drama of title characters Adèle Exarchopoulos and Matthias Schoenaerts' combustible relationship. In the second half, as lives unravel, so the film loses focus and potency despite the considerable charms of the two stars.
The File On Thelma Jordon (1950)
Takes time to find its feet with self-absorbed DA Wendell Corey, yet once noir fatalism and melodramatic thrills see Barbara Stanwyck weave her tortured web to absolve her of murder, a darkly involving pleasure. Narrative contrivances balanced with character detail and encompassing, moody visuals.
La fille de Monaco (The Girl From Monaco) (2008)
Agreeable comedy drama, as free-spirited Louise Bourgoin bewitches middle-aged lawyer Fabrice Luchini, who comes to rely on initially unwanted bodyguard Roschdy Zem. Breezy visuals energize appealing performances and narrative twists.
The Final Cut (1995)
With emphasis on periodic explosions and mayhem, character background and narrative depth take decided backseat, coasting on bomb squad experts Anne Ramsay and Sam Elliott's blunt charms. Visuals and production smooth enough, lacking tension and originality.
Fire On The Amazon (1998)
Atmospheric setting and ecological themes has intriguing potential, with opportunist photojournalist Craig Sheffer uncovering corruption while principled Sandra Bullock seeks to protect the rainforest. Murky production matches muddled story and sketchy characters.
First Man (2018)
Typically intense and artful from director Damien Chazelle, placing the audience alongside Ryan Gosling's stoic, prototype astronaut to experience the terrifying, claustrophobic and bone-rattling attempts to reach the moon. Though characters and social context lack depth, the action is immersive.
The First Of The Few (1942)
Stagy, winning slice of biographical propaganda tells struggles of dedicated Leslie Howard as RJ Mitchell to design and construct Spitfire plane. Able support from Rosamund John and David Niven, fine William Walton score, stirring and uplifting finale.
First Reformed (2017)
Anchored by Ethan Hawke's wrenching, questioning priest, a bitingly emotional and provoking story of faith, futility and hope. The purity of visuals matches narrative severity, while Amanda Seyfried provides a soulful escape. Dark, beautiful, spiritual tale.
A Fistful Of Dynamite (1971)
A typically grandiose Sergio Leone Western, contrasting the minutiae of a face with a vast landscape, a collision of sweaty comedy and blistering violence, of political reflection and personal loss. Morricone's beguiling score ties tonal and time shifts.
Five Graves To Cairo (1943)
Crafty, witty war suspenser as British corporal Franchot Tone crawls to remote Egyptian hotel where imperious Erich von Stroheim's Rommel plans victory. Cynical Anne Baxter provides dramatic heart as danger swirls along with strong visuals and Miklós Rózsa's devious score.
Five Fingers (1952)
Suitably sober wartime spy story makes rigorous use of Turkish locations as British Ambassador's valet James Mason turns German spy and involves impoverished countess Danielle Darrieux to reach for new life. Witty romantic and financial twists enliven third act.
Flame In The Streets (1961)
Harsh, messy indictment of British racism, as union leader John Mills fights for workplace equality only to face rotten family core when wife Brenda De Banzie is poisonous against daughter Sylvia Syms' relationship with Johnny Sekka. Stagey atmosphere builds to violence.
The Flash (2023)
Smartly paced humor and appealing performances from Ezra Miller's fumbling hero(es), Michael Keaton's weary Batman and Sasha Calle's spirited Supergirl atone for jumbled plotting and variable VFX. Multi-dimensional, nostalgic inserts tend to divert impact rather than elevate story or character.
Flawless (2007)
Mildly suspenseful, somberly set heist drama, with ambitious Demi Moore facing sexism in 1960s London diamond company and persuaded by devious Michael Caine to help in robbery. Solid production and intriguing characters, uneven pacing and twists not so compelling.
Flesh+Blood (1985)
Reveling in the dirt, blood and disease of Medieval Europe, Rutger Hauer leads a desperate band of mercenaries out for revenge and kidnapping curious Jennifer Jason Leigh. Plenty of nudity and violence though it feels strangely subdued, despite dynamic Basil Poledouris score.
Flocken (Flocking) (2015)
Unflinching, menacing view of prejudice and mob rule in a small Swedish village when the community refuses to believe a 14-year old girl who reports she was raped. Commendably bleak, austere visuals align with strong performances, an ending both hopeless and defiant.
Flower (2017)
Kept buoyant by invested cast and detached observation of the cruelly careless, situation and character too often ring hollow as Zoey Deutch plans revenge on teacher her stepbrother accuses of sexual assault. Bleached glow of visuals contrasts with conscious shock value that remains unpersuasive.
Flower Drum Song (1961)
Brassy score and vigorous dance weaves through comedy of Chinese culture and generation clashes in San Francisco, with honor, illegal immigration and frustrated love swirling amid tradition and aspiration. Bright visuals highlight dynamic Nancy Kwan and lively cast.
Flyboys (2005)
Handsomely mounted World War I heroics undermined by unconvincing characters and strained story unraveling in strangely sterile atmosphere. Swaggering James Franco is among American volunteers joining emerging French air force. Misses romantic sweep and emotional investment despite soaring flights.
The Fog (1981)
Sins of the past return to haunt anniversary of a small Californian town in an elegant, highly effective ghost story that crafts sustained suspense. Polished visuals heighten the chills as the dead seek violent retribution, a solid cast maneuvered into suitably unnerving situations.
The Forbidden Street (1949)
Often strangely enticing, sometimes awkwardly incohesive, melodrama turns to death and blackmail when impulsive Maureen O’Hara falls for penniless Dana Andrews (twice) and clashes with gnarly Sybil Thorndike. Conjures an effectively theatrical atmosphere.
Forever Amber (1947)
Swept along by David Raksin's gorgeous score and the dense Technicolor design, orphan Linda Darnell is alternately abused and exploits to rise up through London society. Debtors prison, highwaymen, plague, fire, duels and love forever lost. A lush pileup of incident.
Forever My Girl (2018)
Nothing surprising in setup or structure of narrative and mostly disposable scenes, yet humanity and comedy sparks persuade. After jilting Jessica Rothe at the altar, Alex Roe returns 8 years later, a disillusioned millionaire C&W singer. Bland style, comforting emotion.
Forsaken (2015)
Effective cast and solid production only highlight deficiencies of clean redemption tale that borrows without revitalizing as sour Kiefer Sunderland confronts his violent reputation on returns to pacifist father Donald Sutherland and corrupt hometown. Lacking thematic intensity and flatly staged.
Fortress (1992)
Christopher Lambert is condemned to a high-tech prison, with story jettisoned for a procession of brutal fights and torture. Supporting characters are lively, there's a surprising amount of gore and Frédéric Talgorn delivers a dynamic score. Little originality, efficiently made.
Fortune Is A Woman (1957)
Modestly produced and constructed, flickers of noirish melodrama enliven and entwine staid insurance investigator Jack Hawkins when old flame Arlene Dahl re-enters his life and her cold husband Dennis Price dies in a fire. Frayed desires twist British restraint.
The Fortune Cookie (1966)
Caustic, cutting, often very funny study of desperation and greed as insecure Jack Lemmon is injured during a football game and pressured by shameless Walter Matthau into scamming insurance. Bitter view and leisurely style allows whiplash dialogue to shine.
Forty Guns (1957)
Sweeping, dynamic visuals inform high western melodrama as resolute Barbara Stanwyck controls Tombstone ranch through brute strength of her hired guns until the arrival of gritty U.S, Marshall Barry Sullivan. Wickedly, bluntly subversive as well as glorious fun.
The Founder (2016)
Relentless delineation of American capitalism, efficiently constructed and absorbing though without grey shades to puncture glossy 50s visuals. Michael Keaton is a dynamic presence as the man who forged the McDonald's empire, adding nuance to the sales pitch.
Foxcatcher (2014)
Edgy, oppressive, compelling real life drama of obsession and control as wealthy benefactor Steve Carell funds Olympic hopes of wrestling brothers Channing Tatum and Mark Ruffalo. The storytelling is harsh and impersonal despite the uniformly excellent cast.
The Foxes Of Harrow (1947)
Ripe prolog and playful opening scenes set up indulgent melodramatic potential that fizzles rather than ignites. Strong-willed Maureen O'Hara and singled-minded Rex Harrison well cast, relishing sexual sparring and enduring family and financial tragedy.
Frankenstein Unbound (1990)
Bewildering mashup that propels time-traveling scientist John Hurt to 1817 Switzerland where Raul Julia's Frankenstein and Bridget Fonda's Mary Shelley are creating a myth. Lacking cohesion and Roger Corman's usually stylish visuals, only minor pleasures persist
Freaks (2018)
Initially enclosed family drama gradually reveals paranoid, prejudiced worldview is all too physically threatening for 7-year old who learns of her latent 'powers' from edgy father Emile Hirsch and obsessive Bruce Dern. Often gripping and inventive, emotional core doesn't quite deliver.
Frozen River (2008)
Deserted mother Melissa Leo and Mohawk widow Misty Upham join forces to illegally drive people across the Canadian border. Powerful, natural performances inhabit a low-key, lived-in environment as bracing as it is moving, treating victims of poverty and racism with humanism.
Fukushima 50 (2020)
Sober telling of nuclear plant meltdown after 2011 tsunami is most successful in the detail and quiet strength of sacrifice to prevent widespread contamination, while smooth visuals provide potency to impending threat. Political histrionics and family background less assured.
The Fury (1978)
With its visual flourishes and technical virtuosity, an always involving mix of thriller and horror, eventually jettisoning narrative and logic to whip up delirious blood-drenched dreams. Aided enormously by a glorious John Williams score, dark, lyrical and rousing.
F/X (1986)
Unfussy visuals and staging places emphasis on story and character, which accentuates twists and movie make believe without remotely touching plausibility. Bryan Brown is a special effects expert framed by shady FBI agents, Brian Dennehy a hardened cop. Briskly enjoyable.
F/X 2 (1991)
Anonymous sequel, utilizing returning SFX expert Bryan Brown and retired cop Brian Dennehy, this time facing rotten cops. Story told with efficiency rather than imagination, piling on a succession of increasingly implausible set pieces. Distracting rather than involving.