Ken Fox

A wildly entertaining detective thriller that succeeds entirely on its own terms.

This superbly played film, directed with remarkable skill for a first-time feature filmmaker, is truly an adult drama.

Routine thriller.

After a positively thrilling first half, Brazilian director Andrucha Waddington's follow-up to his acclaimed 2000 debut "Me You Them" badly stumbles over an unfortunate casting strategy.

The film's opening dedication to Pasolini acknowledges Arslan's debt to Neorealism, but the gritty, documentary style is offset by a charming bit of chalkboard animation that helps lighten the mood considerably.

It's an engaging diversion from a master director who, at the ripe age of 78, appears to be once again at the top of his game.

An even sweeter and lighter whipped confection than "Legally Blonde," this hugely enjoyable sequel serves up a generous second helping of the ingredient that made the original such an irresistible hit.

Moritsugu's film is really just a loose collection of encounters between characters that at times barely hangs together.

Indeed, Hirschbiegel himself seems reluctant to single out a protagonist, and finally settles on Junge.

Offers a rare glimpse into the hermetic world of the Satmars.

All the paraphernalia so important to the image of the Reich, particularly the uniforms, are painstakingly rendered, bringing a heightened sense of realism to what might otherwise have been a romantic coming-of-age tale.

A tense geopolitical thriller that leaves a curiously bad aftertaste.

Marvelously entertaining.

It's very funny, and the little woodland critters that make up the cast are a kiddie-pleasing bunch.

A deep waste is more like it.

One of the most perceptive movies about the gentrification of Los Angeles.

A sad and sometimes funny tale of Alzheimer's, love and loss.

Director and enfant terrible-wannabe Gregg Araki winds up his Teen Apocalypse trilogy with this loud, ridiculous mess, and not a moment too soon.

Eason balances the clichés of a fairly standard story with convincing realism and a powerful momentum that never flags.

Brimming with fun and a few great ideas, it's little more than a foggy memory the minute it's over.

The film's potshots are perfectly aimed.

Misbegotten mess.

While the film may drop a few of the novel's more disturbing moments, it still travels some emotionally rocky territory, and each of those actresses -- particularly Alison Lohman, who carries most of the movie on her young shoulders -- turns in a first-rate performance.

The film is bold stroke that hopes to push Romanian society forward by staring into the dismal failures of its recent past.

Cloying, immature and relentlessly cute, this grating British comedy about two London con men is every bit as shameless as its heroes.

And if you can't figure out who [the bad guy] is the minute he first appears, you've either seen too few movies with mind-numbingly predictable plots or you've seen far too many.

Damon, an underrated comic actor, is particularly good as an ultra-rationalist who'll scream like a girl and run from anything he can't immediately explain.

Like any good soap opera, the script deftly flits among story lines, offering just enough tantalizing plot development to keep you sticking around for another bite.