Gregory Weinkauf

Without question, Shadow of the Vampire is a stately and elegant horror film, interwoven with delicious strands of black comedy.

Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.

Deftly delivered and free of gratuitous gloss, yet enormously rich in its unassuming manner.

For three jerks bitching in a box, Tape makes the most of its minimalism. At its best, it's Betrayal for the Breakfast Club set.

Tethered to screenwriter Gail Parent's adaptation of Dyan Sheldon's novel, plus the demands of bigwig producers, it's a testament to Sugarman's artistry that she sustains her funky playfulness--a hallmark of her earlier work--throughout most of this film.

Despite its lively tone and brisk editing, the project's sad epilogue -- shot two years later -- suggests that Abraham and Mohammed will be duking it out on the world's dime for some time to come.

A mess, but it's a rousing mess, with ample humor and action to satisfy the discerning dullard within.

The movie features several political themes for adults and is mostly delightful for kids. Just consider yourself warned about the live-action Carly Simon video at its tail end.

The stately pacing and meandering plot often reduce this potential classic to generous eye candy.

Pretentious yet devoid of poetry, left-of-center yet artless, this well-intentioned trudge does not exist to be enjoyed or appreciated so much as to be coddled and patronized as one would a retarded child.

Moments of strained mirth indicate how false and fabricated the whole enterprise really is--just a couple of well-to-do superstars doing their darnedest to prove to us that they're regular folk. And failing.

It's Tommy's job to clean the peep booths surrounding her, and after viewing this one, you'll feel like mopping up, too.

What Lies Beneath is my head on the movie theater floor, snoozing through this film.

An inspiring effort, lavishly lensed and featuring a spicy (if occasionally synthy) score from A.R. Rahman. Best of all, it's also something of a musical, as the characters are not above breaking into song and dance to serve their emotions.

We have a whole new reason to appreciate cinema's most creative chameleon (Depp) since Peter Sellers. The film itself is pretty and sweet but a tad soggy.

What's most impressive about this is that, if one didn't know better, the naturalism of the performances could be taken for that of a documentary.

A solo "Thelma and Louise" crossed with a gender-reversed "The Fugitive" with a dry twist of "Fletch."

Although the press notes liken the movie to "Easy Rider" (why not "Lawrence of Arabia" while you're at it?), the obvious comparison is to the "Fast and Furious" franchise, which shares the same producer. Actually, the closest spiritual cousin may be "Pee-wee's Big Adventure."

Like its namesake, this Simon Mágus is wise and elemental, sure to leave you pensive afterward.

The film succeeds as massive, astonishing entertainment; verily, enthralling us is its chief goal.

Quills is bound to titillate some, but for most it's likely to summon little more than a few Oscars and appreciative yawns.

An adaptation that can rightfully be called brilliant.

With a sneer and a wink, Drowning Mona plunges us into a fresh deluge of idiotic Americana .

The movie remains engaging, with a couple of sequences verging on stunning.

Director Mick Jackson (L.A. Story) delivers playful and charming teens-turned-30 moxie.

What isn't hard to say is that Noé really isn't a very talented filmmaker.

Ryan's performance burns with a rare and passionate veracity. The other half of the delight comes from director Jane Campion, whose sensualist eye and scabrous heart infuse In the Cut with guts and glory.

Any story's a good story if it's told well, and this one is, with chuckles to spare.