Loren King

Delivers a surprising, moving portrait of contemporary womanhood.

One of the most searing, heartbreaking and ultimately triumphant mother/daughter stories ever put on film.

Reynolds is the best thing about Van Wilder.

The Eye is a feast to behold, but it lacks substance and will leave most viewers wholly unsatisfied.

It is awkward and dull, a capital crime for an aspiring noir.

A luminous love letter to the Banco Chinchorro, the largest coral reef off Mexico's coast, and to the tender bonds between a father and son.

Surprising less moldy and trite than the last two.

Throws its obvious predecessor, "Waiting to Exhale," into relief, making that 1995 syrupy revenge fantasy look positively Shakespearean next to the moronic Two Can Play That Game.

An ebullient toast to grande dames: part homage, part camp, all artifice and a thoroughly entertaining, if light, confection.

The intriguing subject, unfortunately, collapses under too many talky scenes of the samurai discussing their feelings and gossiping about who loves whom.

Laurel Canyon itself feels musical: languid, rich in color and light, and deliciously sensual.

Unimaginatively recycles all the teens-in-the-woods gorefest conventions.

Toback's films deliver a lot of bang for the buck. He's one of the few serious and original directors who can mix group sex and talk of existentialism; a fast-paced basketball sequence cut with scenes of Mafia members plotting a hit; and an in-class philosophy lecture stylishly edited with Alan's memories of a contradictory in-bed discussion.

Predictable and dull.

Succeeds as a paean to movies and movie-watching.

MacDowell offers an engaging portrait of a complex woman who has survived life's slings and arrows. It makes Crush an affecting take on modern women.

Small, sharply written, incisive comedy examines, with smarts and style and sexiness, the very nature of modern romance - gay, straight, and in between.

Despite its many charms, the title of the film -- both complaint and boast -- makes clear whose point of view this is. Gainsbourg is delightful, intelligent and sexy, but this isn't her film.

Schlock that could and should have been better.

Resonates with intelligence and a poignancy made more sorrowful by what happened to all of us, but especially to New Yorkers, on that terrible day.

Manages to wring some originality out of its fairy-tale plot. This freshness compensates for the expected hackneyed qualities in this Cinderella tale.

The rigidity of most of the rabbis interviewed in the film is balanced by the presence of openly gay Orthodox Rabbi Steve Greenberg, who offers a more liberal, but no less scholarly, interpretation of the Torah.

Any film about the folk tradition is required to have a stellar soundtrack, and Songcatcher does not disappoint.

As a bonus, "Liquid" also includes eye-popping footage of the top surfers in the world (Taj Burrow, Laird Hamilton, Dave Kalama) -- wave riders who make the impossible look easy.

Disappointingly hollow.

Magically transports the viewer across time and space. As it does so, it becomes a humbling reminder of the universality of the human experience.

Deftly uses the conventions of the urban buddy/ romance film to create a fast and loose, often humorous, atmosphere.

Star Pilar Lopez de Ayala is such a feisty, striking presence, and the film so conventional in its depiction of a jealous and insatiable love, that it is hard to see Juana as anything other than a typical soap opera heroine.