David Ehrenstein

Few things are quite as frustrating as a film that chooses a highly controversial subject then proceeds to give it the kid-glove treatment. That's the case with writer-director James Bolton's well-made, if excruciatingly slow-paced, drama.

Not as tumultuous as "Happy Together" (the best gay break-up movie to date) it nonetheless offers much food for thought, particularly in regard to issues of trust and condom use.

May be too low-key for its own good. Still, if you want to get in on the ground floor of Aidan Gillen's certain-to-be-skyrocketing career, it's a good place to start.

At 145 minutes it's a bit of a stretch, but the cinematographer is the great Eric Gautier ("Those Who Love Me Can Take the Train," "Pola X") and the score by Howard Shore is far superior to his Oscar-winning "Lord of the Rings."

If you're a Basquiat fan, or were around in New York back then, you'll want to take a look. If not, this film has little to recommend.

While nostalgically recalling the past, this is a clear-eyed look at Jewish history that should prove compelling even to those who've never heard of the Yiddish theater.

Weber uses Faye as base from which to branch out in bizarre directions.

More art-directed than directed, there's nothing in the way of serious thought to be found here,

A lacerating study of sexual alienation.

When Circuit is on its game it's very telling and where it's at its best is detailing just how difficult it is for men so hedonistically self-involved to love one another.

Vera's technical prowess ends up selling his film short; he smoothes over hard truths even as he uncovers them.