Jean Oppenheimer

The film is smart enough to aim for farce rather than whimsy or reality. The songs are still bland--"I hid the alarm clock," "too much lipstick"--but at least the characters are somewhat entertaining.

A gentle, beautifully realized tale of love and intimacy...It moved me to tears.

Oddly, the film's strengths -- its quiet, understated manner; its non-plot; the awkward speech patterns and uncomfortable pauses that suggest emotional isolation -- are also its weaknesses.

As good as all the actors are, the scuzzy characters are so one-dimensional that the film falls flat.

Doesn't come close to matching the emotional depth and power of Frank Perry's 1962 "David and Lisa," the most involving and affecting film I've ever seen about teenagers and mental illness.

Overly broad and silly at times, the film also has an "important" message to pass along to its young viewers.

A genuinely affecting movie that approaches its adult themes with intelligence, maturity, and rare authenticity.

Worth the price of admission if only to see the slinky Thurman decked out in a form-fitting, sequined pre-flapper era outfit. The word stunning hardly does her justice.

A spare film, with little dialogue but a lot to say.

The two lead performances are so good it contains more emotional depth than it probably has a right to.

If only good intentions were enough to redeem a picture, perhaps ABCD would be worth a look.

Yes, the movie is obvious at time, banging you over the head with its message, and the use of shadows on a wall can seem overly broad. But these are small complaints when compared to the film's many strengths.

There is something distinctly self-satisfied about Amy's Orgasm that rubs the viewer the wrong way. The film should come with a warning label: Vanity project ahead!

A modest, uneventful film, buoyed by fine, albeit low-key, performances and the ring of truth.

Last Days shouldn't be half as engrossing as it turns out to be.

Pure joy to watch -- and an invaluable documentary record of a bygone era.

Though we know the story's final outcome, the trial scene and its aftermath are no less shocking and affecting.

Both actors are marvelous, and the film, low-key but heartfelt, is a gem.

It is that rare find: a film that is as emotionally truthful as it is satisfying.

This latest adventure proves to be a suitably sweet addition to Pooh's cinematic canon.

Combines strong feminist sensibilities with surprisingly old-fashioned melodrama.

A delicious little thriller about an uptight, ill-humored English mystery writer who becomes enmeshed in murder, Swimming Pool is at once comical, contrary, resourceful and ambiguous.

Cheadle, always a fine actor, is outstanding here--an almost willfully naive yet uncommonly decent man who sees civilization crashing and burning around him yet who, almost against his own better judgment, refuses to give in to it.

Alternately heartrending and buoyant, tragic and sweetly humorous, the film leaves an indelible impression on the heart and mind. It's among the best of the year.

Viewers expecting another enchanting, whimsical tale of high energy and mischievous spirits will be sorely disappointed.

Fascinating and engrossing on every conceivable level

A riveting movie that's as entertaining as it is socially and politically important.

Shot in black and white by the renowned Raoul Coutard, and with a score by Michel Legrand, the film represents an idealized view of reality that will strike some viewers (including this one) as overly sentimental.