Ken Fox

It all comes down to Nolot's marvelous performance: His Pierre is sulky, morose, self-centered and curiously likeable, and Nolot leaves you wanting to know a bit more about just where this odd figure might be headed.

Surprisingly, some of the best moments come from supermodel Crawford and singer Connick, two acting tyros not generally known for their dramatic skills.

Populated by a great ensemble cast and oozing a grubby sort of charm.

Old family secrets and fresh entanglements snake through the intricate plot like the tendrils of a particularly poisonous strain of ivy that flourishes only in the hot-house atmosphere of tiny towns, whatever the outside temperature.

While not particularly dramatically compelling, the film is carefully constructed and exposes both the economic and sexual exploitation of illegal workers.

Good, ghoulish fun.

Filled with short, rapid-fire takes, edited to a pulsating beat and punctuated with blasts of noise...the style suits the often violent material, as well as Arquette's remarkable physical performance.

Some nice scenery, an unexpectedly funny performance by Jodie Foster and a unflaggingly spunky Abigail Breslin make for above average family entertainment.

A gripping mystery and an ever-timely reminder of the terrible power of repression and silence.

With scenes that must surely rank among the most revolting ever committed to film.

Without any deeper consideration of the matter, the film is a grueling experience, and 90 minutes is simply far too long to spend in the company of Jesse Power.

After nearly a decade of duds, Wes Craven reasserts his claim to being a master of suspense with this solid little airborne thriller.

If this brutal tale of crime and corruption within the upper ranks of the Los Angeles Police Department feels like an updated retelling of "L.A. Confidential," there's good reason. Both stories spring from the dark mind of American crime writer James Ellroy.

Like its seven subjects, it can't see past the immediate demands of addiction, and the film becomes a seemingly endless string of scenes depicting shooting up, nodding out and waiting around for the next fix.

One hopes Koury will return to this interesting project to flush out the bigger story that continues to lurk just below the surface.

If there's a strong sense of urgency behind director Kim A. Snyder's enlightening film.

Thick with sexual intrigue and characters who only reveal themselves over time, this subtle mystery unfolds like something a kinder Neil LaBute might have cooked up earlier in his career.

Caton-Jones' refusal to pull back on showing exactly what happened to the 800,000 Rwandans who were murdered that spring means that strong stomachs and even stronger nerves are required, but the film demands to be seen by anyone attempting to grasp how -- and just how quickly -- genocide can occur.

A frighteningly good horror movie with enough solid scares to freeze the blood of ardent fans and newcomers alike.

What this spectacular-looking sci-fi thriller lacks in originality it makes up for in pure beauty: It just might be the most visually audacious and startlingly beautiful space opera since the original "Solaris."

If you don't already have a handle on the complicated conflict at the heart of Darfur's ongoing genocide, you probably won't come away from this harrowing documentary with any comprehensive understanding.

Techine's unwillingness to soften his characters reflects a rare honesty about human nature that's rarely seen in movies, particularly movies about fatal illnesses, and his film is an engaging and particularly French character study.

There's so much less to the film than the novel: Nicholas Meyer's screenplay fails to capture the intricate subtleties of its subject and replaces Roth's moral scope with a moralizing tone.

The sad fact is that this comprehensive and compassionate documentary about the hottest of the "hot-button" topics - gay marriage - probably won't change one's mind

The film is filled with the kind of choreographed carnage that became synonymous with Hong Kong action during the genre's heyday, but there's an elegiac self-consciousness to it all that acknowledges that while the best is behind us, there's still something to be said about its passing.

A slow and pensive tone, but for all its lyrical pretensions it lacks real poetry.

However intriguing from a theoretical perspective, this gorgeously shot film is first and foremost and purely sensual experience. Filled with the sights and sounds of Rio of a bygone era, the whole thing virtually pulses with excitement.

You may give up on Ian Iqbal Rashid's feature debut long before things get interesting, courtesy of a distracting conceit that shatters whatever spell the hackneyed premise might cast.