Lisa Alspector

The line between romance and sex is blurred in this enthralling feature by Guy Maddin, whose overwhelming stylization unexpectedly produces an emotional and psychological authenticity.

The movie illuminates how the moral, economic, and spiritual concerns of its characters converge in situations that defy ethical platitudes. In less capable hands the brasher metaphors might have come across as trite, but director F. Gary Gray (Friday) generally manages to ensure that the line where technique meets meaning is marvelously blurred.

At its best when it’s least overtly allegorical--and fortunately that’s most of the time.

Unlike the many youth movies that can't overcome their makers' hindsight, this one may actually put you in an adolescent frame of mind.

A sense of authenticity overshadows any contrivance in this subtly classic drama.

Shtick isn't all this movie has to offer.

The characters have been designed to make fun of themselves, disguising the craft of writer Neil Cuthbert and director Kinka Usher in getting us to laugh at them.

The luminous images--as much the filmmakers' as the painter's--are occasionally transcendent.

Despite a melodramatic score that at times seems almost facetious, the movie's tone is sober and sincere, its unlikely ending persuasive.

Funny, moving, and insightful look at questions about identity and community.

Largely free of generic horror-movie elements, such as exploitative torture and murder scenes. Those it does contain draw attention to the difference between the conventions of psychological drama and those of pulp horror.

The bitterly beautiful black-and-white industrial and residential landscapes reflect the sense of anonymity felt by the characters.

Mostly it's an overearnest examination of emotional and sexual fidelity.

Set in an expressively underlit environment, this rivetingly moody drama is enhanced by the restrained use of incidental music.

Some powerful dialogue.

A painstakingly crafted nonrealist story, which doesn't seem to imply anything beyond what it depicts.

This bleak vision directed by Darren Aronofsky ("Pi") is pointless with good reason.

Subplots are woven stealthily into the story, taking the pressure off the central drama, allowing it to be affecting rather than melodramatic, and heightening the atmosphere of the lush Louisiana setting.

There's charm and insight in the candid depictions of the teenagers' sexual experiences and discussions.

Realist fairy tale.

The lush, emotional scenes are enhanced by the sound track.

The wavering style and tone fragment the movie, undermining both characters' development, though each retains her power as a symbol.

Deftly realist character study.

Drew Barrymore's virtuoso performance smooths over the plot holes.

Movies about the trajectory from outsider to insider in LA social and professional circles--the two always seem inextricably linked--are a dime a dozen, but this one is fresh, thanks to a script by lead actor Jon Favreau that lets us know Mike knows he resembles a character in a movie even if he doesn't know he is one.

The coincidences that bring some characters together and keep others apart in this romantic comedy are plotted with musical grace.

A sparing use of exterior shots during the mesmerizing buildup to the match heightens their impact, while invasively tight close-ups put the actors to the test.

With its persuasive special effects, gentle pace, and more expressionistic than surreal production design, this serious yet far from ponderous drama is something of a marvel.