Keith Phipps

While fleeting moments from Pearce and Luis Guzmán (as Caviezel's loyal servant) suggest the film might have been even more fun had they been allowed to loosen up a bit, the finished product still offers little cause for complaint.

It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.

As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.

Falk and Rowlands—in performances of almost indescribable intensity—detail a marriage anchored by love, but tossed by the expectations of others and the unpredictable swell of madness.

A slow, ponderous, ultimately unsuccessful exercise in cerebral nihilism.

Halloween II provides ample spotlights for Zombie’s visual gifts, but—apart from some striking Oedipal fantasy sequences featuring Sheri Moon Zombie as the spirit of Myers’ mother—we saw most of this last time around, and a lot of promising material leads to dead ends.

An overstuffed would-be epic.

Video veteran Sanaa Hamri directs with smooth competence, and the leads all go pleasantly through their paces, but there are no surprises.

There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.

It’s nice to see a film unafraid to be quiet and sensitive, but one good gust of coastal breeze would blow this one away.

A funny, touching, nearly cliché-free, and thoroughly considered evocation of a time, place, and state of mind. Released just 11 years after the events it depicts (it usually takes about 20 years for nostalgia to set in), the film both captures the enormous societal changes between the early '60s and early '70s and winningly dramatizes the lives of its characters.

The story of a much-admired graffiti artist who is tempted by the possibility of mainstream success, Wild Style is extremely clumsy as a drama, with awkward dialogue and even more awkward acting. However, as a showcase for many aspects of the incredible outpouring of creativity that took place in New York during the late '70s and early '80s, it can't be beat.

Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.

Night Of The Comet borrows freely from everything from The Omega Man to Romero’s zombie films to Repo Man, but it never borrows so heavily as to feel like a rip-off of anything.

Adapting a novel by Eric-Emmanuel Schmitt, François Dupeyron uses handheld cameras and some jarring edits, but, prostitutes and all, this is storybook material: heartfelt, pleasant, cuddly, and a little too insubstantial to stick in the mind for long.

Already as dark as London soot, the comedy hardly needed work to bring it in line with the Coen brothers' sensibility, but the remake moves to a beat of its own, one unexpectedly in sync with the gospel music dominating its soundtrack.