Ken Fox

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.

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.

John Carlos Frey's tough social drama has a slightly sensationalistic edge, but the disturbing fact is that all too much of his worthy film hews closely to the real-life experiences of undocumented immigrant workers.

It's a complex new approach toward putting memory to tape, and the result can be at times too theoretical, too personal and too opaque, but it's a consistently challenging work that's often sharply poignant.

It's strictly for the kids, and they'll be tickled.

Meeske does offer insight into a way of life that may be finally gone for good.

The acting is superb.

It's hard to believe that this oddly mesmerizing film, set in large part in the vast subway system that snakes its way through Manhattan and its outer boroughs, wasn't made by a native New Yorker.

Aronofsky has given us a well-acted, gorgeously overwrought and luridly entertaining exploitation flick -- a midnight movie for future generations.

While Brosnan, an Irishman by birth, lays it on bit thick, his performance is surprisingly effective.

An uncommonly smart and bittersweet romantic comedy.

The soundtrack (Heart, ELO, Todd Rundgren, and an original score by the French duo Air) is spot-on and the costume design (pukka shells and knee-socks) is hideously accurate.

On the whole, it all goes down rather smoothly. Those left wanting more are referred to the RSC's monumental production, now available on DVD, or better yet, to Dickens's original novel.

Breezy, surprisingly poignant Spanish film.

For all the film's cleverness -- and it's often very clever -- it's as thin as its heroine.

Screenwriter Vincent Molina takes into account changing attitudes towards homosexuality and the resulting film never feels like the kind of thing we've seen time and again in the '80s and '90s.

A fascinating, often tragic history of a program the Soviet Union held up to the rest of the world as communism's ultimate technological achievement.

The Sisyphean ordeal at the heart of the film strongly recalls Roman Polanksi's 1958 short "Two Men and a Wardrobe," while Lachow's loose, improvisatory approach -- as well as the occasional self-indulgence -- feels more like Henry Jaglom.

But if you stick around for those final credits, you'll also have the opportunity to hear Robin Williams deliver a clean but nonetheless hilarious joke, a reminder of how funny Williams can be when he's not trying so hard.

Begun over seven years ago and described by the filmmaker as a work-in-progress, the documentary still feels a bit incomplete.

The film is ridiculously overplotted, and very little of the plot serves any purpose other than to motivate what you can pretty well guess is going to happen from the outset.

The film's real strength lies in two excellent performances, from veteran Morse and up-and-comer Gosling.

Even when the script takes a turn for the chatty, there's always something pretty to look at.

Everett remains a perfect Wildean actor, and a relaxed Firth displays impeccable comic skill.

If the banter lacks the often brilliant and erudite -- if showy -- sparkle of its predecessor, the acting is still first-rate, and the film will be best enjoyed by fans eager to spend another 90 minutes with a group of old friends.

Fascinating, if slightly unfocused, film.

Too many musical montages break the momentum, but overall it's an engaging piece of work, regardless of which team you play for.