Kirk Honeycutt

Yet music, the one thing that might have given the film some kick, is de-emphasized, with only two songs sneaking into the picture.

The details are what matters, and thanks to a cast of all-star British elders and a mischievous sense of humor, the filmmakers bring those details to vivid life.

The film is thought-provoking but not terribly involving.

Chabrol has been making and remaking this film for six decades now. He seemingly will never tire of explaining how tired he is of the petit bourgeoisie.

In spite of its portentousness, the film does engage one.

Limitless should be so much smarter than it is.

This odd collection of oddballs doesn't quite play out as a satisfying movie.

A really terrific, intensely focused documentary on a fascinating personality.

An arresting visual style cannot make up for lack of new information or viewpoints about the Green Revolution in 2009 Iran.

This topsy-turvy funeral produces a number of smiles, giggles, pleasant guffaws and several solid, sustained laughs. Not a bad batting average as comedies go.

A backyard ecological comedy outfitted with some fine, silly slapstick and clever animal characters.

What this strange yet strangely beguiling film does is capture one of pop culture's great entertainers in the feverish grips of pure creativity.

Pretentious to the core and lacking any context or credible characterizations.

More than delivers on the excitement and terror of this existential flirtation with one's own mortality. Where it falters is trying to link this event to Nazi-era politics and a feeble love story.

This is a film of terrific selectivity. By focusing on two of the few who did survive the collapse, the film achieves emotional power and an uplifting ending.

Noir never has been this dark.

Weitz gives all his actors room to shine.

A compelling albeit highly discouraging portrait.

Lacks the wonder, surprises and supercool attitude Cameron achieved. "T3" is no weak sister, though. With Arnold Schwarzenegger back as the iconic title character and an often witty, fast-paced script by John Brancato, Michael Ferris and Tedi Sarafian, audiences worldwide will embrace the new film.

As enjoyable as this foodie movie is, you wish it would take a deeper, more nuanced measure of the women who, in two different eras, star in the movie's kitchens.

Sticking to its simplistic, patriotic origins, where a muscular red, white and blue GI slugging Adolf Hitler in the jaw is all that's required, Captain America trafficks in red-blooded heroes, dastardly villains, classy dames and war-weary military officers.

The film also does something quite remarkable for an American film: It makes middle-age love look sexy and hugely satisfying.

The effect is impressionistic and provocative, with the emphasis falling differently on scenes because of our knowledge or lack thereof.

Results in an edgy comedy, where laughs stem at times from uncomfortable situations. In other words, Mean Girls lives up to its title.

A riveting tale of survival and how even war cannot diminish a child's indomitable spirit.

In American Me, Edward James Olmos has achieved several important goals, but one outweighs the rest: he has made a film that will scare the hell out of any inner-city youth not already lost to the hopelessness of gangs, drugs and prison. [9 Mar 1992]

The whole film, a comedy about crime and mental illness, seems at war with itself.

Audiences might enjoy this cinematic sleight of hand, but the key characters are such single-minded, calculating individuals that the real magic would be to find any heart in this tale.