Keith Phipps

In just about every way, Insurrection seems as if everyone involved is still stuck in the weekly grind of turning out the series, but the results don't disappoint too terribly.

The film works by putting the accelerator to the floor and never looking in the rear-view mirror.

Bridges turns in another remarkable performance, and he's well-matched by Foster.

Behind the camera, Lee shows a steady hand and saves his best tricks for the big finale, which generates a lot of excitement out of the collision of disco music and some truly impressive skating.

Starr and Shihabi, a charming newcomer, play off each other beautifully, and even when the film becomes a little too heavy-handed...their relationship keeps it grounded.

The singular word “portrait” isn’t quite right, however. Both Whishaw and Hall deliver lovely, tender performances that capture the friendship between the writer and her subject.

Directing with the assurance of a veteran, Harris pairs the stylized lyricism of her play to a kinetic, sweat-drenched grindhouse aesthetic that’s at once gripping and repellent without overwhelming the complicated, conflicting emotions that drive the sisters to do what they do.

As generous as the film is to its characters, it also keeps finding ways to criticize their myopia.

The film is unfortunately about little more than its potentially mind-boggling plot and structure.

Despite a shaky start and the presence of questionable elements throughout, by the time it arrives at its finale -- which copies Return Of The Jedi's triple-climax structure -- The Phantom Menace has won its place alongside the original Star Wars trilogy.

Sauret's approach isn't the most artful, but it doesn't have to be. Hearing his subjects speak for themselves is good enough.

It's a smart, exciting, involving film that's true to its source, which is all it really needs to be.

Though Moolaadé doesn't shy away from the task of educating its viewers about the brutality of "purification," it works equally well as a tribute to righteous defiance wherever it surfaces.

Edwards’ film doesn’t care much about metaphorical resonance, and cares even less about its human characters, many of which get forgotten for long stretches of the film. But Godzilla has a way with a disaster setpiece, and it cares a lot about providing awesome monster-on-monster action on a mammoth scale.

Polyester splits the difference between Waters’ earlier cult movies and his later mainstream work. A melodrama that touches on everything from punk rock to abortion to pornography.

The ridiculously entertaining Shaolin Soccer pulls out all the stops to make sure viewers stay happy.

The mostly wordless film simply presents Ground Zero, the dust-covered surrounding areas, and the city's immediate rescue efforts. As a document, it's invaluable, and as a viewing experience, it's somewhat shocking.