Kim Morgan

The best-looking, best-scripted and funniest of Smith's pictures, it's also Smith's sharpest.

The film seems to resonate even for people who aren't Jewish or gay, as there are so many people touched by homosexuality and religion.

It's merely a by-the-numbers coming-of-age film

You get to know each person just well enough to compare them, allowing you to judge as you like; the film, nicely, refrains from moralizing.

A tough picture to wrap your brain around.

The performances are uniformly fine, with Perez showing a heavy amount of presence and complexity. It's no wonder the film works best when fixed on his face.

The film is tangled but not chaotic, thoughtful but not terribly deep. Still, it's intimate, entertaining, and most impressive, genuine.

Bad comedy.

The story sounds horrifying, but the film takes some unfortunate twists and never presents us with a multifaceted character in Paxton. Paxton just doesn't play the nice-but-nuts role with a modicum of terror.

If you simply love Vogue magazine, you'll love 8 Women just as much as the cinematically educated. This breezy entertainment often feels like an exquisitely photographed fashion layout come to life.

Marshall does such a good job re-creating the otherworldly energy of a temple of youth that the rest of the picture feels strained and sometimes trite. Nevertheless, parts can be absorbing, reflective and touching.

Every once in a while a picture comes along that captures not just love, but romance in all its fear, yearning, fantasy, eroticism and unexpected epiphanies. German filmmaker Tom Tykwer's The Princess and the Warrior is one such film.

Has its cheesy moments but it's bolstered by interesting performances and a final scene not typical of a mainstream movie. Though no "Fatal Attraction," Unfaithful nevertheless is an interesting and worthy film.

It's an odd, overly long picture, filled with too many pauses but dotted with just enough funky band sequences to keep you interested.

There are many merits to the picture -- it's wonderfully shot and boasts a beautiful performance by Eul-Boom, who acts in gestures of subtle dignity and compassion. But it's questionable how we're to take actor Seung-Ho.

There's more to this movie. Like Pitt at his best, it's pretty, gritty, engrossing and fun.

Understated fun, but not much more.

There's something refreshingly and truly girlish about the picture's musings and epiphanies that makes its R rating baffling.

A sweet, loopy British comedy filled with good actors and funny moments.

It's creepy, but it's not horrifying. Still, the movie has its distorted, haunting moments that will stick with you, and it's stunning to look at.

Pablo Berger's subtle satire Torremolinos 73 is almost there. Almost.

Exciting, gory, funny and, like much of anime, a bit cheesy.

Finding Forrester achieves a distinct success few Hollywood movies can even dream of: It overwhelms and inspires with understatement.

The film moves too slowly and dispassionately to resonate as it should.

It's a stylish work, seeping with brilliant animation and potentially interesting characters that didn't need so much time to establish themselves. It's worthwhile, but it's a good thing there's a television show to refer to.

This is a beautiful, moving picture about a love affair between two very different Chinese men.

Works like a funnier "Austin Powers" -- you laugh just enough to want to see the whole thing again.

Really a vehicle for Dunst, which would be fine if only the vehicle were more inspired.