Jonathan Foreman

Revels in the sensual pleasure of music while capturing brilliantly the tension that grips any theater company before the curtain goes up.

A sophisticated, stylish, fast-moving piece of work.

Though shamelessly derivative and amoral, The Girl Next Door is nevertheless funnier and smarter than most of the pathetic dreck aimed at the nation's teens.

If Schwarzberg had chosen to concentrate on eccentrics, rural artists or people like his New York bike messenger, female aerobatic champion and California cliff dancer, "Heart and Soul" would have been a much more interesting film.

An example of lazy, dumb and couldn't-care-less hack movie making.

Isn't as bad as the year's first abysmal Martian movie, "Mission to Mars," but it's pretty close.

Resolves the romantic dilemma in the most artificial and unsatisfying way. A blaring swing score and some obvious dubbing do little to ease the pain.

Long stretches of Mike Figgis' film are jaw-droppingly pretentious or painfully dull... Nevertheless, there are clever, funny, erotic and visually beautiful moments scattered throughout the film.

An ugly, failed attempt to pull off a "Heathers"-style, teen-oriented black comedy.

The film is clearly an unfinished work and one that feels like a ragged assemblage of parts from at least two entirely different movies all with the same cast.

A haunting, superbly made film. But it's also an unrelentingly sad and depressing experience.

Unfortunately, Impostor doesn't do much with its template, despite a remarkably strong cast.

Boasts several fine performances and some elegant, eerie black-and- white photography.

A messy, woefully uneven chick flick.

A gorgeously photographed, sun-baked fable.

It makes not just the "Thief of Baghdad" and the junky Ray Harryhausen movies of the '60s and '70s but even Disney's recent "Aladdin" seem positively multicultural by comparison.

Visually stunning.

The pace slackens a little after the first hour, but the photography by Remi Adefarasin and music by Magnus Fiennes keep the emotion stoked.

An affectionate, often clever and unflaggingly funny satire.

Without a real story to go with the notion of Farm Belt "wiggas," the humor wears thinner and thinner until it disappears.

Often darkly funny and very well acted, it's a pleasingly subtle, Hitchockian thriller with dark comic overtones.

Fascinating, beautifully photographed portrait of a vanished community.

It is not only an amazing technical accomplishment, it's also the wittiest and best-voiced animated movie to come along in years.

Slick but painfully precious, it strains to be darkly romantic but is bereft of genuine feeling.

Doesn't have the emotional heft of his "Children of Paradise," but it's still moving.

An ultra-stylized, empty mess.

Alas, the laughs - courtesy of screenwriters J. Mackye Gruber and Eric Bress and director David R. Ellis - are unintentional.

It reeks of contempt for the audience. This is not just a "B-movie" -- it's a B-movie that fails to entertain on any level.