Carina Chocano

Has its share of summery charms, including gorgeous postcard views of Santorini, an old-worldy Romeo-Juliet romance, and some particularly good performances by Tamblyn and Boyd.

What we may very well be looking at here is another "Showgirls," a drag camp-fest for the "Baby Jane" crowd, fabulous fodder for future cabaret acts, and a pleasure probably best enjoyed in a crowd -- preferably a vocal one. Dead serious and stone idiotic, the only basic instinct in evidence here is desperation.

I'd be happy to see it listed in an in-flight magazine, but "Annie Hall" it's not.

There are moments of beauty here, but not enough to make up for the mannered dialogue and hamstrung performances. Persons attempting to find a motive in this narrative won't be prosecuted, but they'll probably be disappointed.

A squarely suburban movie with a distinctly bourgeois-shaped window on the world, but it's genuine and exceptionally well observed.

For a druggie movie, Candy is surprisingly dynamic and involving.

Morgen's decision to avoid talking heads recounting events and find a way to dramatize them instead is consistent with his intention for the film. The director wants to bring recent history to life for people who weren't around to witness it, and in that he succeeds pretty admirably.

The use of recognizable movie stars doesn't help, r serve Wong's style. My Blueberry Nights" should have played like a memory, but its hard-living, luckless losers are too beautiful to be believed.

An unexpectedly poignant ghost story.

Illusion and disillusionment entwine through the film like twin helixes, weaving a dreamy, free-form look at his life and legacy.

Marie Antoinette gives a wide berth to the conventions of period dramas, especially their time-capsule remove, and instead tries to mainline the singular personal experience of the arch-villainess of French history (and freedom history, for that matter). The result is a startlingly original and beautiful pop reverie that comes very close to being transcendent.

Any glimpse of emotional honesty comes courtesy of the actors, who manage to do a credible job despite the material.

Isn't so much a movie as an extended sitcom -- it looks like one, it acts like one, it reduces everything to the lowest common denominator like one.

Winds up an oddly depressing, lost, little movie that eventually caves in on itself.

What Last Days offers is a blank and narrative-free, but pitch-perfect, dreamscape on which to project your own personal ruminations on Kurt, fame, whatever, nevermind. If you have none, you're on your own.

As sad as it is to realize that youth activism in this country is dead, it's sadder still to find yourself agreeing that they have a point. Just look at what happened to Kurtz.

Buoyed by an unreserved humanism and a cheerful sense of the absurd.

Charming, bittersweet.

What's rare to see, and what ultimately makes Nacho Libre so enjoyable, is the story of an underdog who's allowed to remain a humble clown all the way to becoming a hero.

A few scenes are worth the price of admission for their inspired camp alone; Shaw happens to be in two of them.

Moody, mannered and supremely irritating, Christophe Honoré's Dans Paris plays like a pastiche of French cinema clichés through the ages.

Swicord has a playful sense of humor and a good ear for dialogue, and the movie pleasantly accomplishes what it set out to accomplish.

Intermittently fun and high-spirited, Dead Man's Chest sags under the weight of its own running time.

An unassuming but quietly heartbreaking drama.

An impassioned piece of activist filmmaking that's as persuasive and entertaining as it is disturbing.

There's something to be said for cinema this perversely naturalistic.

What's best about it is that it seems real by the logic of childhood - it looks as things SHOULD look, if kids had it their way.

Ghobadi uses the lack of resources and the surfeit of drama that had been the lot of the Kurds throughout Hussein's dictatorship and both Gulf wars much in the way De Sica and Rossellini used the European tragedies of the '30s and '40s,