Edward Guthmann

A charming, finely nuanced romance.

Placing style above coherence, Seven glosses over plot points and shows a weakness for cheap, lurid effects.

It's downbeat material and it tends to drag a bit, but Jia's performance is so unsparing and intense -- and the film so compassionate and chaste in its approach to a life lost and recovered -- that Quitting ultimately satisfies.

A movie so cheeky, aggressive and bursting with vitality that it can't help being annoying and exhilarating at the same time.

A movie by a man who adores film and relishes its potential.

Could use more background and personal detail on Rijker, but Bankowsky's tight, no- frills approach is always compelling.

(Holm) nails one of the best roles of his career.

Entertaining.

This is Rampling's film, and she's never less than surprising, never less than a revelation.

Schrader seems to understand these characters implicitly, and the result is probably the best film he has directed.

It's hard to follow, the characters are ill-defined, and the wide-angle shots used by Wong's perennial cinematographer, Christopher Doyle, are deliberately unflattering.

Manages to be affectionate without drawing too deeply from a well of sugar and schmaltz.

At its best, Forrest Gump is a gentle, elegiac fantasy about love and trust.

A study in unexpressed emotion, but Mamet turns the flame so low that his film lacks the emotional payoff we expect.

The animation is rich and densely detailed, the characters well defined.

The Neon Bible is a lovely, rewarding film, but it requires some work and some faith on the part of the viewer. Davies' rhythms and camera moves are as slow and stately as ever -- the antithesis of most Hollywood films -- and the moments of crystallized emotion he achieves are sometimes separated by dull patches and self-conscious artiness.

Jay and Claire are exquisitely played by Mark Rylance and Kerry Fox.

Sick does a remarkable thing in presenting extreme, sometimes revolting material and simultaneously making us like and admire Flanagan.

It becomes stronger and more honest than most character studies on film.

Exhilarating not only for its dreamlike images and fierce, frequently reckless imagination but also for the fact that it got made (and released) at all.

His (Seidl) camera is shocking in its intimacy, his film surprisingly casual in its depiction of extreme behavior and the randomness of violence.

The photography is strong, the performances sympathetic and the sex plentiful.

A first-rate historical drama.

Sci-fi has rarely been so playful.

Holds our attention by dispensing information gradually, like a piece of fiction.

Wonderfully original comedy.

The only way to enjoy Kids in the Hall: Brain Candy is to savor the performances and behavior quirks, and release the notion that plot is essential.

Barbarella is a pure goof -- Vadim called it a kind of sexual Alice in Wonderland of the future -- and Fonda seems to have reveled in every sexy, campy moment.