Desson Thomson

Probably the most engaging Potter film of the series thus far.

Apocalypse Now Redux, which contains about 50 minutes of extra footage, is Coppola's final artistic assault. This is the one where he honors his vision -- or clears his name, whichever way you look at it. Does he do it? Perhaps the first thing to get out of your mind when watching this "Apocalypse," or the 1979 version, is worrying about whether the film's a success or failure. It's both. The more you see of "Apocalypse," the more obvious its triumphs and mistakes.

Robocop is one weird and entertaining hybrid of camp and sci-fi shoot-'em-up.

It's definitely NOT a conventional biopic about Kurt Cobain. (Nor, as its title oddly suggests, is it about the demise of writer-director Van Sant.) It's a tone poem, an elliptical, fictionalized meditation about the ill-fated rock 'n' roll superstar.

If you do not bring pride, good taste or sense to this third American Pie installment, you'll have a good time.

Warmhearted and slightly edgy seriocomedy, these sisters experience some pretty entertaining ups and downs. Entertaining, that is, for people who appreciate irony.

As we vicariously participate in their daily rituals, we find ourselves at the ground level of spiritual worship. It's hard to recall a similar documentary that brings viewers so palpably close to that sacred experience.

A percolating comedy. The laughs may not tear your belly up, but they're constant and they dovetail with the story.

Wonderful images, hues, sensations and faces.

Although the movie is slow-going at first, it gradually awakens, like Lilia. And then it dances.

Beam yourselves aboard Sunshine, set 50 years in the future. The voyage works, beautifully.

I was hooked from beginning to end.

It's formulaic, yet edgy. It's predictable, yet full of surprises. How far you get through this tall tale of a thriller before you give up and howl is a matter of personal taste.

A movie of biting social observation. And it masterfully avoids Manichaean simplicity.

This is cinema as oral tradition. And one heck of a cheap-seat deal.

There's no denying its surreal, hypnotic effect.

Based on a true story, the movie takes us through some harrowing times.

You don't have any idea what's going to happen next. You're not caught in a movie, so much as a narrative stratagem.

I think you can say that almost everyone watching this will be spellbound, whether they're stupefied by its insanity, more conventionally compelled by the various horrors in store or a combination of both.

Levinson was never one for narrative tightness. As with much of his previous work, Bugsy is a maze of episodes, a sprawling excuse for engaging human banter. Although the truth will inevitably catch up with Beatty -- especially concerning that expensive nightclub -- it's not entirely clear what the movie's about. But that's the kind of detail Beatty's Siegel wouldn't even worry about. Neither should you.

Even though it's weak in the final stages, Rock Star has more than enough sparkle to last you. That's chiefly thanks to Wahlberg, the main firework of this movie.

Director Demme is smart and sensitive enough to sit back and listen to the music without attention-getting intrusions. The tunes are subtly compelling.

To come out of the summer haze and enter the dark (and cool) wonder of Batman Returns is a pleasure not to be denied. Even more than before, this cartoon opera about cloistered personalities bathes exultantly in moody blues, gothic music swirls and a symphony of character tragedy.

It sweeps over you with blunt, unequivocal conviction.

This finale turns Assisted Living from fascinating experimental film into something finer.

The performers bring freshness to what could have been cliched roles.

The haunting beauty of the music, and the people who produce it – that's the chapter and verse of this story.

There's a great sense of fun in the cultural collision between Indian and British lifestyles -- often within the same person.