Andy Klein

Singleton may spend the rest of his career chasing the kind of critical and commercial success he won at an early age with "Boyz N the Hood". But even if Rosewood fails to meet that standard, it is a film that reaffirms that depth of his talents.

Pretty hysterical.

A warning is virtually mandated: No one who's even the least bit squeamish should even think about seeing Audition. But, if you have a taste for the disturbing, it's a trip that will stay with you for some time.

For fans of the franchise, Evil Dead Rises marks a welcome return to the seamless blend of humor and genuine scares and creepiness that Raimi created 42 years ago.

Worth watching.

It's unlikely that anyone will walk away unmoved.

Were it not for the gravity of the setting, the movie could just as easily be a comedy -- with everybody play-acting and doors opening and shutting and the repercussions of lies multiplying geometrically -- as a drama.

Dominik's stylistic choices are savvy, but what really makes the movie work is Bana's extraordinary performance as Chopper.

The texture is reminiscent of last year's "Suzhou River," but the basic material isn't as rich.

Office Space's pleasures don't really depend on plot. It's pretty much what a Dilbert feature should look like.

It is a moving and solidly entertaining comedy/drama that should bolster director and co-writer Juan José Campanella's reputation in the United States.

It's an interesting, often worthwhile, film, but humor isn't its strongest attribute.

Its tone has elements of Jim Jarmusch and the Coen brothers but without Jarmusch's self-conscious artiness or the Coens' hip snottiness.

Greenwood gives a nuanced performance that may be the film's best work, but at times his surface dissimilarities to JFK are jarring.

While the whole is diverting, the ending's utter repudiation of reality seems like pissing on the audience; -- we feel like we've been suckers for bothering to care about the characters at all.

Rea hits just the right balance of sympathy and self-interest.

Hu has crafted a charming and modest movie.

The actors labor long and hard to bring some semblance of reality to the proceedings, but the whole affair has a distinctly faux '50s feel to it.

Full of provocative concepts, but, like most films that attack such metaphysical concerns head-on, things have become a tad too jumbled by the end to be altogether satisfying. It's a problem built into the subject matter...This all said, Dark City is immensely entertaining, as well as visually dazzling.

Thankfully, the final, long action set piece, which owes a debt to "The Manchurian Candidate" among others, is free of such problems. Shiri manages to go out on its most exciting sequence. There are worse ways to go.

Craven's other accomplishment here, besides resuscitating the genre, is the way he keeps things scary even when they're at their funniest. The grand finale, while thoroughly bloody and tense, has some genuinely hilarious shtick.

Solidly entertaining little film.

The performance itself (which aired on PBS and is available on DVD) apparently went perfectly; given the potential pitfalls that Miller documents, it's some kind of miracle.

Pecker is a satire, but an incredibly good-natured one, which is not quite the contradiction in terms it might seem.

It's nothing more than a very long movie about someone, literally and metaphorically, having to get back up on a horse.

Fans of convoluted narrative in the manner of Christopher Nolan and David Lynch are likely to be intrigued, although Medem has a far stronger streak of sentiment.

The film operates like a clockwork mechanism. If there were foul-ups or major implausibilities—as such trick plots often have—they eluded me.

Belongs somewhere in the low middle of Altman's output -- not up to "Cookie's Fortune," but way better than, say, "Beyond Therapy," which remains his worst film by some margin.